My article on B. TRAVEN by French playwright Frédéric Sonntag, translated from French into German by Yvonne Griesel, is now online. The play was chosen by the Eurodram German language committee as one of three for special recommendation. The other two plays are:
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On 22 February, the Literarisches Colloquium Berlin will present its Havenrevue under this year’s motto Déjà Vu. We will be there! How about you?
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During a trip across the United States in September 2018, I had the opportunity to get to know New Dramatists, a New York institution for playwrights. The artistic director Emily Morse devoted her time to me quite generously to tell me about the building and its history as well as about the structure of her work. I was also able to meet a few of the fellows in the house and discuss their work at New Dramatists with them.
A longer portrait of New Dramatists has now appeared in the January issue of Theater heute 2019.
Finally, it is here: VON MASOCHISTEN UND MAMMA-GUERILLAS. Barbora Schnelle, the editor of the book, presents new Czech drama. The book is now available (e. g. with the publisher).
“An update in the German-speaking countries and at the same time the first volume of the newly founded series of translated contemporary drama: Drama Panorama.“
Since the first guest performance of the EIN STÜCK: TSCHECHIEN 2018 festival, the book is availabel and will be officially presented at the readings on 6 June at the Czech Centre Berlin. Please join us for a night of new Czech drama in German translation.
For more information, please navigate to Drama Panorama.
Hardened Positions in US theater
Theatermakers in the profoundly disparate US society struggle to be part of the societal narrative. Positions of power are challenged and defended, with attributions being associated less with economic categories but with cultural identities. The increasingly hardened identitary (essentialized) positions particularly in the academic context of theater, counteracting the often bitter and ideological fight against social and political inequalities, show how ambiguous such strategies can turn out.
In an article in the July issue of Theater heute, I try to explain these developments presenting a few sample productions.