Sonntag, 24. Juni 2018
 

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countries


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.