In their short tenure before Covid-19, the artistic director duo Benjamin von Blomberg and Nicolas Stemann showed us with their great troupe what theater in the 1920s can be like - or even must be: a young, super-diverse ensemble in productions of classic and newer material that, with the help of technology, finally change the viewing habits and the aesthetics of a form of performance that always runs the risk of falling out of time. I signed the appeal because I am convinced that a world-famous house must, on the one hand, have this artistic standard, but on the other hand, it should also be equipped with the possibilities to push the boundaries of what is possible in order to remain good and important.
A theater of international renown loses its belarus rcs data luster when it degenerates into a listed clothing store. that manages past successes; we need a theater that challenges us, that prevents us from becoming provincial and that is able to create a pull on the city. That's why I'm looking forward to an old, new spoken theater that is equipped with the possibilities to offer this kind of art. Dear Matthias, I'm afraid you're wrong for once. We have to renovate it out of respect for the history of this great house. Dürrenmatt and Frisch would see it the same way, I'm quite sure of that.
PS: Affaire à suivre. Preferably in the Kronenhalle after a visit to the theater together, when we are allowed to do so again and it is epidemiologically responsible.