embrace the destiny set aside for her by the history of drama and a role determined by the modern consumerist society?
Lost and Found by Yael Ronen and cast, Volkstheater, Vienna, Austria Yael Ronen creates her plays in collaboration with the actors. At the beginning, there are certain interests and biographical stories they pursue during the rehearsal process through the means of theatre, which are then combined and further developed in Yael Ronen’s writing process. “Lost and Found” is based on today’s family structures, an actress’s personal story and the story of her cousin, who fled from Iraq to Vienna.
The Robbers by Friedrich Schiller, directed by Daniel D. Kovács Vígszínház, Budapest, Hungary Schiller was not even twenty-three years old when “The Robbers” first premiered with huge success: the audience raved and the performance almost had to be stopped. The success brought quick fame to the author and his first critic already referred to him as “the German Shakespeare”. The story of the two brothers fighting for their legacy and their love became popular mostly among the younger generations, however, the exciting plotline, fuelled by the opposition between the cold-hearted Franz and the self-confident idealist Karl, captivates audiences of all ages even today.
Crime and Punishment by Fyodor Dostoyevsky, directed by Sotiris Hatzakis, National Theatre of Greece, Athens, Greece In the performance of the National Theatre of Greece in Athens, Dostoyevsky’s world meets Papadiamantis’ language in a unique translation that reflects the two great writers’ deep understanding of the pain of human existence. In 18th century St. Petersburg, the law student Raskolnikov commits a double murder, in the cloak of an ideological justification that is based on a curious form
THE OWN AND THE FOREIGN The dramatic increase in refugees coming to Europe and the global threat of anti-Western terror groups were particularly dominant issues in public and private discourse in April of 2016. The German Chancellor’s optimistic approach of “we can do it” and a wave of helping hands met worried concerns and expressions of rejection that don’t even shy away from violence. So the questions posed were: Can we still afford to have an open society characterised by the right to freedom? When will defending this freedom become the opposite? What’s our definition of the own and where does the foreign begin?
Three Years of Battle Union des Théâtres de l'Europe