Why do teenagers find SchülerVZ, flickr or YouTube so fantastic? What are they finding in the communities on the internet that doesn't exist in real life, and what exactly are they doing with it? The JFF- Institut für Medienpädagogik (Institute for Media Education) looks into these questions and learns from a 15 year-old "I think the future will just be one big Second Life."...
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An interview with one of the grand old men of German theatre, Gert Voss, about Schiller's Wallenstein, the glories and the disappointments of the stage, and a life-long love of cinema. By Peter Kümmel
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The celebrated German theatre collective Rimini Protokoll gives centre stage to "experts on everyday life". Eva Behrendt met three of its unsuspecting stars: English Literature student Priyanka Nandy, lorry driver Vento Borissov and corporate consultant Sven-Joachim Otto.
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Although Belarus "Free Theatre" stages its critical plays in discreet locations - cafes, apartments and even the woods - they have not escaped the attentions of the state authorities. Ingo Petz on a theatre group that's immune to intimidation.
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A great theatre pair – director Luk Perceval and actor Thomas Thieme talk about fear, fury and self-hatred on the occasion of their five-hour Moliere marathon which just premiered at the Salzburg Festival. And about being a potato. By Peter Michalzik
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Fighting the system of informers in the GDR was his life's task. It made him ill - and famous. On the death of Ulrich Mühe. By Matthias Heine
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The Mülheimer Theatertage is a festival of contemporary plays. Christopher Schmidt takes a look at current trends and discovers truth-protocols, text surfaces and the Hamburg telephone book. But is there a dramatist in the house?
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Germany's top theatre festival is taking place in Berlin, the Theatertreffen. But does the theatre still have anything to celebrate? Absolutely! A defence of the stage in the age of cable TV and computer games. By Peter Kümmel.
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Revolution with a whiff of dementia. Nicolas Stemann stages Elfriede Jelinek's play "Ulrike Maria Stuart" in Hamburg's Thalia Theatre. Intelligent septuagenarian RAF schlock horror, says Christopher Schmidt.
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Theatre director Thomas Ostermeier and choreographer Constanza Macras have shaken things up at the Athens & Epidaurus Festival in Greece, with a sexed-up, grotesquely over the top, babylonically confused party called "A Midsummer Night's Dream." By Christine Dössel
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Berlin's favourite Russian writer Wladimir Kaminer sat on the scriptwriting jury at this year's Theatertreffen festival. He recounts the horrors of reading plays by the kilo and reminisces about his own dubious-sounding contributions to the dramatic arts.
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In an arresting new play, five young Muslim women lift the veil on a taboo: sex. Director Neco Celik talks to Michaela Schlagenwerth about his own conflict with Islam and why he chose this explosive material for his first play.
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Making audiences happy makes other people suspicious. Max
Reinhardt not only staged theatre in Berlin, he also built and ran several of them very successfully. He democratised the closed world of theatre, but he has never been able to
shake the accusation of being apolitical. By Esther Slevogt
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Euripides' play "The Bacchae" is making a comeback on stages across Europe. But can we recapture the brutality of the bard of ancient times? In Munich Jossi Wieler tries hard but fails to portray the play's profound weirdness and horror. By
Peter Michalzik (Image © Arno Declair)
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Thomas Ostermeier, director at Berlin's Schaubühne, has staged "Hedda Gabler". Henrik Ibsen, he says, has a lot to say about the world as we know it: morally improverished, metaphysically empty but not without hope.
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Helena Waldmann is the first female director from the West to have been invited to work in Iran. The result of her project "Letters from Tentland" is now touring Europe. An interview with Sylvia Staude.
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