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Orestes. Electra. Women of Troy by Euripides, Sophokles, Aeschylus, directed by Stephan Kimmig, Schauspiel Stuttgart, Stuttgart, Germany At the end of the war, peace is more distant than ever: in “The Trojan Women”, Euripides doesn’t focus on great heroic deeds, but rather on the period after murder, deceit and war.  Troy has been defeated after ten years of war. The Trojan men are dead; their women, those who survived the carnage, must submit to the Greeks’ despotism and revenge. John von Düffel’s classics adaption connects the Trojan women, Sophocles’  “Electra”, Aischylus’”  The Libation Bearers”,  and Euripides’  “Orestes”  into a story about the devastating effects of war. At the center of the narrative: Orestes and his sister Electra, who motivates and supports him in slaughtering his mother Clytemnestra and her husband Aigisthos in order to take revenge for the murder of her father Agamemnon. 


Lampedusa by Anders Lustgarten, directed by Olaf Kröck,Schauspielhaus Bochum, Bochum, Germany The Mediterranean is the cradle of European identity origin of our centuryold cultures, vantage point of German wanderlust since Goethe’s time. Today, it is fast turning into a well-guarded mass grave. Almost one million people crossed the Mediterranean last year in an attempt to reach the safe shores of Europe. 3,600 of them drowned. How many would there be this year? Stefano used to be a fisherman. Now his job is to pull bodies out of the sea around his native island. Denise is a payday-loan collector working in a big European city, putting her foot in doors, waving court orders, listening to shabby old lies in shabby old flats. The two have nothing in common. And yet, there is one thing connecting them: They work at the coalface, at the point where politics turn into hard facts. Lose your job and get behind on the payments, lose your balance and slip over the railings, and you are one of their customers. Not exactly a great job. Until in both their lives, something extraordinary happens.

In addition to the individual essays on theatre structures, these conferences have also been covered by the Young Journalists on Performing Arts. Visit the UTE online theatre magazine at conflict-zones.reviews/topics/theatre-structures to explore the various essays that have been published on theatre structures in different European countries.

On Serbia: Theatre in Serbia

On Great Britain: Theatre

Today: The Resilience of the

in UK: Politics, Poetics

Socially Engaged Artists

and Resistance

by Ana Tasić

by Diana Damian Martin

On Russia: The Threesome

On Hungary: Where Do

Tango: Spectator-Theatre-State

Parallel Lines Meet?

by Emilia Dementsova

by Andrea Rádai

On Greece: Is Athens

On the Czech Republic:

Ready For Take-Off?

Theatre of Diversity

by Elena Galanopoulou

by Ludvík Píza

On Germany: German

On France: (A)Live

Theatre: Behind the Scenes

by Lucie Beraha

of Its Structures by Herwig Lewy

On Italy: Contemporary Theatre(s) in Italy – Introduction by Sergio Lo Gatto

Stay tuned—there are more to come!

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UTE - Conflict Zones - Zones de Conflit  

Three Years of Battle Union des Théâtres de l'Europe

UTE - Conflict Zones - Zones de Conflit  

Three Years of Battle Union des Théâtres de l'Europe

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