Podcast on the venues
03. November 2009
Prix Goncourt für die Schriftstellerin und Dramatikerin Marie NDiaye
06. Oktober 2009
Stückewettbewerb des International Playwrights' Forum 2010
22. September 2009
Drama Panorama: Thema "bühnentaugliches Übersetzen" am 30.9. und 6.10. in Berlin
18. September 2009
Sechs französischsprachige Stücke in Saarbrücken im November
09. September 2009
Festival Off-Europa in Leipzig und Dresden: Schwerpunkt Bosnien-Herzegowina
Spieltriebe 3 – Festival for contemporary theatre
nachtkritik-spieltriebe3.de is the festival portal of nachtkritik.de for the premiere festival in Osnabrück, which takes place from the 4th – 7th September 2009 and deals with the topic of Europe.
Debates, interviews and background reports on the topic of German premieres.
June 2009. The Cologne publishers Marc Schäfers and Tobias Philippen doubt whether there is a commandment to deal with foreign theatre in a structured way and answer the interview from Schultze and Popig with this thesis.
June 2009. Which role do the translators play in the network of publishers, agencies and theatres? Karen Witthuhn describes how much luck, endurance, flair and enthusiasm is needed in order to turn a good English text into a just as good German text in her report on translating plays.
May 2009. A foreign play can certainly have several German premieres. Tena Štivičićs "Fragile!" is such a case: the play was already performed at the theatre TKO Cologne, however, it didn’t have a publisher. Petra Kohse describes how it came to this.
May 2009. Europe is growing. Since the gradual expansion of Europe since 2004, relatively few European plays are being performed in German theatres. Have the theatres lost their capacity with the growing numbers of world premieres to look around abroad for new drama? Holger Schultze, artistic director of the Theatre Osnabrück and his leading dramaturge Jürgen Popig explain in an interview why there should be more to an exchange than just visiting guest performances.
Current events of the festival, the author's workshop and the creators
Osnabrück, September 6th 2009. It's not a festival without a discussion! Europatriots? European plays in German theatre was the theme of the foyer event today, where amongst others Andreas Beck from the Vienna playhouse and translator Mirjana Wittman contemplated the difficulties transferring foreign plays. Although all in all, as Wolfgang Behrens reports, the situation isn't too bad.
Osnabrück, September 6th 2009. On the second day of the festival Christian Rakow discovered at the German premiere of Paul Pourveurs Shakespeare is dead directed by Nina Mattenklotz theatre that is in two respects on the level of post-modern theory. There hasn't been anything like it since René Pollesch he marvels in wonder. Wolfgang Behrens is intoxicated by the room installation of the opera Ophelias:Death by water singing and is appreciative about the complexity of the issue of womens rights in Orange Peel by Maja Pelevic.
"Mission:London" by Alek Popov, directed by Sebastian Hirn,
Theater am Domplatz, photo copyright: Klaus Fröhlich
Osnabrück, September 5th 2009. A play which eight playwrights wrote together during the author workshops in June is presented at the festival brunch this morning at half past eleven in the theatre at the Domhof in Osnabrück. In a relay stick drama Christian Rakow believes the authors have gone into turbo mode. He explains why drastic doesn't always turn into relevance.
Osnabrück, September 5th 2009. Yesterday the Spieltriebe 3 European Edition Festival began. On five alternative routes the audience were able to enjoy 14 different productions.
Three nachtkritik.de writers took a look. Christian Rakow watched the Bulgarian piece which was covered by all of the routes and then set off in the direction of Croatia and the Netherlands. Heiko Ostendorf decided on the Finnish play and the dance productions by the new choreographer Nanine Linning. Wolfgang Behrens took on the racism rhetoric of Moldova and the entanglement of guilt in the Spanish play.
Everything on the nine European authors and their plays that are being premiered in Osnabrück.
July 2009. Do you know which blood group a true Moldavian should have? Why the same room is always rented out in Polish drama? Or what kind of poetry lies between the coexistence of the different post-Yugoslavian people? The profiles of the plays by Nicoleta Esinencu, Michal Walczak and Tena Štivičić. reveal these questions. On the menu bar on the left hand side you can also find the profiles of plays by the other authors and the componists. You can also watch and listen to six of the playwrights read from their plays. In their mother tongues, of course.
June 2009. The film is online. Nicoleta Esinencu, Maja Pelevic, José Manuel Mora, Alex Popov, Paul Pourveur and Nathan Vecht, who Thorsten Alich ( Camera) and Simone Kaempf filmed with in June in Osnabrück, explain their view on theatre, speak about the importance of an exchange at an European level and go for a walk around Osnabrück.
Theatrical landscapes of the home countries of the represented authors at Spieltriebe 3
June 2009. One cannot bring it to one's mind enough times: plays from other countries come from different social background situations and often arise from a totally different understanding of theatre. What are the theatres of the home countries of the represented authors at Spieltriebe 3 like? Which role does drama play? What kind of aesthetic direction is there? And who pays?
Read the country essays by Wilfried Floeck on Spain’s theatrical landscape, by Irina Wolf on the theatre of the Republic of Moldova, by Thomas Irmer on the spasmodic development of Polish drama in the past century, by Jukka-Pekka Pajunen on the battle against commercialisation which the Finnish theatre has to presently deal with, by Gordana Vnuk, who hopes for new impulses for the Croatian theatre, by Violeta Detchva on how Bulgarian theatre has come to a standstill, by Jovan Cirilov, who made the development of social to anti-social realism in Serbian theatre, by Georg Weinand, who describes the parallel theatrical societies in Belgium, and by Simon van der Berg, who thinks that Dutch theatre gets on well enough without dramas.