New Drama

The German theatre has responded to the swing to the right in society. It has thereby proceeded to treat the subject in different ways aesthetically and thematically.

On the German stage refugees are still often the authentic narrators of their fate, directed by established German directors. How can they become their own authors and raise their own, independent artistic voices? Examples from the theatre immigration country Germany.

Teaterforfattere reagerer på kriser og krige, idet de accentuerer afskærmningstendenserne i denne verdens veltilfredse middelstand.

To the year’s Mülheim Theatre Festival 2015, theatre texts and premieres were invited that work like documentary fictions or literary documentations. All treat the breaking points of the global political situation.

Dea Loher is one of the most performed playwrights in the German language. Her theatre texts are about the neglected, the marginalized, the injured birds of paradise and all the enormities that can lie dormant in everyday life.

It was above all linguistically and formally experimental texts that made for surprises the  theatre season 2013/2014.

Criticism of young authors has recently been booming. Not so at the Mülheim Theatre Festival. At this year’s competition for the Dramatist and Children’s Play Prizes, the debutants came out on top.

The concept of the author has evolved considerably in recent years. Even the Play Market at the Berlin Theatre Meeting has been re-oriented.

The German-speaking theatre has been increasingly integrating playwrights into specific theatres. The concept of the writer-in-residence has been greatly expanded.

Festivals have their own dynamics. This is also true of the Mülheim Theatre Festival, which has in recent years spun an ever finer web of cooperation.

The 2012/2013 season surprised with a variety of outstanding plays and was also otherwise full of eye-openers.