Other Playwrights
Selected Plays

Anne Lepper

Anne Lepper studied philosophy, literature and history in Wuppertal, Cologne and Bonn. This was followed by doctoral studies in Bamberg and Essen and literary writing studies at the Bern University of the Arts.

With her debut piece Sonst alles ist drinnen (Everything else is inside) she was invited for the Munich Prize for the most promising young writer in German-language drama.

This was followed by the plays Käthe Hermann (premiere: 5.1.2012, Theater Bielefeld) and Hund wohin gehen wir (Dog where are we going), whose disturbing and linguistic peculiarities attracted much attention quickly.

With Käthe Hermann, Anne Lepper was invited to the Mülheim Theatre Festival 2012 and to the Authors’ Theatre Meet at the Deutsche Theater Berlin.

In 2012 Anne Lepper was voted Young Dramatist of the Year in the critics' survey conducted by the specialist magazine “Theater Heute”.

For the Nationaltheater Mannheim she wrote the play Mädchen in Not (Damsel in Distress) (premiere: May 2016). With this play, Lepper was invited again to the Mülheim Theatre Festival, where she won the Mülheim Dramatist Prize – endowed with EUR 15,000 prize money – and was named Dramatist of the Year 2017.

Written for the youth theatre, her play Maxim was awarded the Dutch-German Children's and Youth Playwright's prize in 2019. The jury adjudged it a “linguistic masterpiece”.

Foreign language productions of her play Seymour are in preparation for staging in Japan and New York, among others. During the Corona-induced lockdown, the Staatstheater Darmstadt produced a film on Seymour.

Anne Lepper is currently writing new pieces for the Staatstheater Stuttgart and the Staatstheater Darmstadt.

Source: schaefersphilippen™ Theater und Medien GbR 2016

Anne Lepper's characters are, with admirable persistence, always looking for happiness or at least a little piece of a successful life. In Mädchen in Not it is primarily about Baby’s question of who one could share life with. She has a husband and a lover, and as per the standards of contemporary lifestyle, is therefore well equipped. But desire, the search for something better, unfolds once again its fatal effect.

A real man, so says Baby, is after all not the real thing. Only with a doll of a man does life promise to be a happy one, where a woman can truly become free and autonomous. Although it is not that easy to find a doll that meets the heterosexual demands and that one can even afford, the quest finally does succeed. Under the envious eyes of her friend Dolly, Baby starts her new life which offers plenty of advantages with hours of dressing and undressing, unchallenged monologues and autonomous sexuality.

But desire continues to grow naturally, and at some point it seems indispensable for Baby that one can only be truly happy with two dolls of men - with whom one could then also travel so nicely to Italy. So at some point the second doll follows, which, like the first, is no more real in it being a doll. It is actually the husband and the lover who had made themselves into dolls in order to convince Baby that it is indeed the most beautiful with real men. It is an intrigue that is supposed to end badly for her. Meanwhile, the Society of Friends of Crime is up to mischief, and the friendly and demonic doll maker Duran-Duran rules over everything.
With Mädchen in Not Anne Lepper consistently pursues some of her themes and motifs.

It is about the search for a better life, the struggle of the individual against the structures of the system, the urgent advances of desire, which repeatedly shatters in the face of the paralyzing stagnation of reality.

Source: Mädchen in Not
Translation: Nidhi Mathur ( Hindi )
Translation of the information text in English: Amrita Dhara

Elfriede Jelinek

Elfriede Jelinek attended the Vienna Conservatory at an early age. Later she studied art history and theatre in Vienna. As one of the most important contemporary German-language authors, she has received numerous prizes and honours, including the Georg Büchner Prize in 1998 and the Mülheimer Dramatikerpreis several times.

In addition to her plays, poetry, essays, translations, radio plays, screenplays, and libretti, her work includes the novels Wir sind lockvögel baby (1970), Michael. Ein Jugendbuch für die Infantilgesellschaft (1972), Die Liebhaberinnen (1975), Die Ausgesperrten (1980), Die Klavierspielerin (1983), Lust (1989), Die Kinder der Toten (1995), Gier (2000) sowie den Prosaband Oh Wildnis, oh Schutz vor ihr (1985) und  and the private or Internet novel Neid (2007-2008).

Prizes and Awards (Selection):
  • 1972/1973: Austrian State Scholarship for Literature
  • 1978 Roswitha Memorial Medal of the City of Bad Gandersheim
  • 1978 Screenplay grant from the Federal Minister of the Interior for the exposé of the screenplay Die Ausgesperrten (The Locked Out)
Source: Rowohlt Theaterverlag

Almost every day the Mediterranean sea washes refugees from Africa onto the shores of Europe, almost every day the basic Western values ​​of humanism, democracy and human rights need to be measured against the real-life practice.

On the lines of Aeschylus’ play The Suppliants, with her play Die Schutzbefohlenen (The Supplicants) Elfriede Jelinek “has dedicated a prose text to European tragedy, and there is possibly nothing comparable in contemporary literature. The work is a great aesthetic monument, a screaming lament of ancient force and sorrow...In an endless stream of words, the dead speak about the living, the hungry with the well-fed, the strangers with the natives. Their voices interrupt each other, in the end everyone sinks into a gray sea of ​​cynicism and guilt…The tragedy runs its course here between the abstract law and the human body, between asylum laws and the 'unannounced'…On this line of death, Jelinek tells the viewer, antiquity showed itself in modernity, the unbearable reality of our present." (Die Zeit newspaper)

“By repeatedly combining the image-puzzles of capitalism with humanistic ideals in her linguistic fabric, Jelinek unmasks the bigotry of a Europe that speaks of integration but means exclusion due to economic reasons...A captivatingly sharp, polyphonic oratorio...(below which) an abyss gapes, from where no divine light emanates, but only the painful realization of failure." (Der Freitag newspaper) 
"It's good that someone dares - and entrusts the theatre with so much moral objection...Die Schutzbefohlenen is an important and an angry play." (Süddeutsche Zeitung newspaper) 

Source: Rowohlt Theaterverlag
Translation (Hindi): Shailesh Kumar Ray
Translation of the information text in English: Amrita Dhara

Ewald Palmetshofer

Ewald Palmetshofer, born in 1978 in Linz, studied theology and completed his teaching degree in philosophy/psychology in Vienna. The author and dramaturge was named Young Dramatist of the Year in 2008.

For his play ''hamlet ist tot. keine schwerkraft'' (hamlet is dead. no gravity) he was nominated for the Mülheim Dramatist Prize in 2008, and in 2010 for his play ''faust hat hunger und verschluckt sich an einer grete'' (faust is hungry and chokes on a grete). Ewald Palmetshofer won the Mühlheim Dramatist Prize in 2015 for his play ''die Unverheiratete'' (the unwed). The world premiere production by Robert Borgmann at the Vienna Akademietheater ended up in 2015 at the Berlin Theatre Meet. This was followed by further invitations to Mülheim. ''Vor Sonnenaufgang'' (Before Sunrise) premiered in 2018 at Theater Basel and has since been performed in more than twenty theatres. In 2019 with the world premiere of ''die verlorenen'' (the lost), which was directed by Nora Schlocker, Andreas Beck made his directorial debut at the Residenz theatre in Munich, where Ewald Palmetshofer has also been working as a dramaturge since the 2019-20 season.

  • 2005: Retzhofer Literature Prize for Young Drama for sauschneidn
  • 2006: Workshops at the Burgtheater Vienna with wohnen. unter glas (living, under glass)
  • 2007: Invitation to the "hotINK International Play Reading Festival" (presented by Tisch School of Arts at NYU), New York, with the English translation of helden (heroes)
  • 2008: Invitation to the Mülheim Theatre Meet with hamlet ist tot. keine schwerkraft (hamlet is dead. no gravity)
  • 2008: International Residency of Playwrights at the Royal Court Theatre in London. 
  • 2008: Young Dramatist in the critics' survey of the yearbook of specialist magazine "Theater heute”
  • 2008: Dramatist Prize of the Kulturkreis der Deutschen Wirtschaft (Cultural Group of German Business)
  • 2008: Nomination for the Nestroy Prize in the Best New Dramatist category for the play wohnen. unter glas (living. under glass)
  • 2010: Invitation to the Mülheim Theater Meet with faust hat hunger und verschluckt sich an einer grete (faust is hungry and chokes on a grete) 
  • 2011: City of Vienna’s prize for the most promising young writer in the category Literature
  • 2015: Invitation to the Berlin Theatre Meet with die Unverheiratete (the unwed), directed by Robert Borgmann at the Akademietheater Vienna
  • 2015: Invitation to the Mülheim Theatre Meet with die Unverheiratete (the unwed), directed by Robert Borgmann at the Akademietheater Vienna 
  • 2015: Winner of the Mülheim Dramatist Prize with die Unverheiratete (the unwed)
  • 2018: Else Lasker Schüler Dramatist Prize for his complete works to date
  • 2019: Gert Jonke Prize
  • 2020: Invitation to the Mülheim Theatre Meet with die Verlorenen (the lost)
  • 2020: Play of the year with die Verlorenen (the lost)
Source: S. Fischer Theaterverlag

April 1945. A young woman is very upset. They call for a military patrol.
70 years later. The young woman is now an old woman. Her daughter finds her in the kitchen on the floor. She has fallen, she is very upset. They bring in an ambulance. In the hospital the doctors and nurses hold a meeting, just like the military court did 70 years ago - just like the national court did one year after that. And a young woman is taken away. "Not unattractive," write the newspapers, "but unrepentant."

And while the daughter brings flowers to her father's tomb, the young granddaughter collects men like butterflies or stamps, the prosecutor collects statement upon statement, the people collect themselves to do jury duty, someone collects apples in the field, and the judge reads his sentence. And a daughter mourns for her father, and an unknown father for his son.

Between past and present, between prison and court, kitchen, bed and hospital, Palmetshofer’s generational drama examines the lifes of three women in a highly artificial and rhythmical language. It is a polymorphic remembrance, a negotiation, a jurisprudence, and tells of the hopeless entanglement of three generations in a network of guilt and love.

Source: S. Fischer Theaterverlag
Translation: Prasad Patki

Felicia Zeller

Felicia Zeller has made a name for herself primarily as a playwright, but she also appears in her own short films. Her debut short prose collection ''Einsam lehnen am Bekannten“, was awarded the Clemens Brentano Prize in 2009.

In 2020 she received the Else-Lasker-Schüler-Dramatist Prize for her "complete work till date", including the meta documentary-slanted work Bier für Frauen (2001) and Kaspar Häuser Meer, an investigation of the youth social worker psyche with her typical Zeller-ian medium of the grotesque (audience award at the Mülheim Theatre Festival 2008). This was followed by further invitations to the Mülheim Theatre Festival in the years 2011, 2013, 2015 and 2016 with the plays Gespräche mit Astronauten (Talks With Astronauts), X-Freunde (X-Friends), Wunsch und Wunder (Wish and Wonder) and Zweite allgemeine Verunsicherung (Second General Uncertainty). In 2013, X-Freunde was voted the best German-language play in the critics' survey of the specialist magazine “Theater heute”. Zeller was born in Stuttgart in 1970. She studied Film and Media Studies at the Baden-Württemberg Film Academy. From 1999 to 2000 she was the in-house author at the Rampe Theatre in Stuttgart.

Further awards (a selection):
  • 1993: Baden-Württemberg Youth Theatre Author's Award for Immer einen Hund gehabt/plane crazy (1928) 
  • 1999-2000: Scholarship from the Baden-Württemberg Art Foundation
  • 2013: Hermann Sudermann Prize for playwrights
Source: Felix Bloch Erben

In the past, gala events like the Golden Lady award ceremony were a welcome opportunity to just look good. Those days are over. Accusations and self-reproaches already start on the red carpet.

"Lump Apocalypse" is not only the name of the director's debut film, whose new film "Survival in one's own life" is set to receive an award that evening, a lump apocalypse is also formed by the continuing comments, observations and interventions of the gala participants. Every utterance becomes a statement, an instruction, a plea. Everything offers an occasion for criticism and self-criticism, guilt, insecurity, aggression and despair.

Change of scene: At the 22nd Bottrop Power Days, a prominent touring public speaker runs amok. Pent-up aggression spills on to the surface, the earth's crust tears open, the sky darkens. Fiction and reality, apocalyptic scenario and actual catastrophe become indistinguishable from one another. Depression for everyone. Only those who put themselves on the non-consent list and know good relaxation exercises will be let in backstage at the end, where some of the gala participants survive.

A grotesquely fantastic piece about narcissistic-depressive people and the art of letting go.

Source: Theaterverlag Felix Bloch Eben
About "Zweite allgemeine Verunsicherung“ (Second General Uncertainty): Felix Bloch Erben
Translation (Tamil): Lalitha G.
Translation of the information text in English: Amrita Dhara

Kristo Šagor

Kristo Šagor was born in 1976 in Stadtoldendorf. He studied linguistics as well as literature and theatre studies at the Free University of Berlin. He writes and stages plays and composes his own stage arrangements for existing works, including Goethe's “Werther”, Horváth's “Jugend ohne Gott” (Youth without God) and most recently “Die verlorene Ehre der Katharina Blum” (The lost honour of Katharina Blum) based on Heinrich Böll’s novel.

He has received numerous awards for his plays, including the Audience Award at the Heidelberg Play Market in 2001 and the Youth Play Award in 2019, the Author’s Award at the Dutch-German children's and youth theatre festival "Kaas und Kappes" in 2003, and 2005, the Baden-Württemberg Youth Theatre Award in 2014 and the Mülheim Children's Play Award in 2019. For his directorial work, he received the 2008 German Theatre Prize DER FAUST as the best director in children's and youth theatre. Kristo Šagor lives in Berlin.

Source: Kiepenheuer Bühnenvertrieb

Julian's parents are getting divorced. This rattles his idea of ​​love. Does adult love pass as quickly as the love for lemon-flavoured ice-cream or chestnuts or a guinea pig? He is quite sure that he loves Lia and will always love her: "Love you." "Love you not," says Lia.

Who loves whom - and why, to be honest? What does love mean, and how does it work at present? And what is the difference between “I love you” and “Love you”? And what is the opposite of love? Twelve-year-old Julian and eleven-year-old Lia face the small but important differences and also the big questions about love and its impermanence. And they let all the loved ones, even those almost forgotten, have their say, they put themselves in the shoes of the living and the dead, of the dancing grandparents and the arguing parents, and even in the shoes of loved ones in the future. In this way, the children condense their love into an eventful story and simultaneously win for themselves important moments in their own lives.

Are those that we love the ones who change our view of the world - and how does a new loved one deal with it? In the end, Julian knows at least one thing for sure: For him, there is one love that lasts forever, even after death.

The play has been funded by the Federal Commissioner for Culture and Media as part of the cooperation project “Nah dran! New plays for the children's theatre“ between the Children's and Youth Theatre Center of the Federal Republic of Germany and the German Literature Fund e.V.

Source: Kiepenheuer Bühnenvertrieb
  • Parthapratim Chattopadhyay (Bangla)
  • Nidhi Mathur (Hindi)
  • Mrunmayee Shivapurkar (Marathi)
  • Md. Uzair (Urdu)
  • Hamsavahini Singh (Tamil)
Translation of the information text in English: Amrita Dhara

Martin Baltscheit

Martin Baltscheit was born in Düsseldorf in 1965. He studied communication design in Essen. From 1986 till 1992 he was a member of the "Young Ensemble Düsseldorf" theatre. He started his career by drawing comics, after which he mainly devoted himself to writing and illustrating picture books. In addition to those, numerous radio plays and cartoons were created.

In 2010 he received the German Youth Theatre Award for his play Die besseren Wälder (“The Better Forests”), and in 2012 he was invited to the festival "New Visions / New Voices" in Washington with his play Nur ein Tag (“Only A Day”, translation: David Henry Wilson). "Only A Day" premiered in English in January 2015 at the Belgrade Theatre in Coventry. For his picture book Die Geschichte vom Fuchs, der den Verstand verlor ("The story of the fox who lost his mind") Martin Baltscheit received the German Youth Literature Prize in 2011; In the 2013-14 season it was premiered as a children's opera with music by Sandra Weckert. In the year 2014 Martin Baltscheit was invited to the Theatre Café with "The Better Forests" (York, Berlin, Frankfurt / Main). And in 2016 he was awarded the German Children's Theatre Prize for his play Krähe und Bär oder Die Sonne scheint für alle ("Crows and Bear or The Sun Shines for Everyone"). The exceptional play Nur ein Tag (“Only A Day”) is now not only available as a book (from the publisher Dressler Verlag) but also as a movie, directed by the multi-talented Martin Baltscheit himself. Furthermore, the radio play of the same name has received numerous prestigious awards.

Source: Verlag für Kindertheater

"A new lion is added, an old lion is subtracted."

Our Lion has everything he needs. The beautiful Lioness lies next to him - and is reading something again - it's sunny and warm and he himself feels, in a word, stately! But then suddenly a competitor appears and swarms around the beautiful Lioness, with flowers and poems and everything in French too, ooh là là! Simply ridiculous!, thinks the Lion, but to his regret, he has to realise that the beautiful Lioness does not remain completely unimpressed. Unfortunately, since our Lion cannot add up one and one, since he simply does not know that three is one too many, he has to take tuition, for better or worse. Surely somebody can be found in his kingdom who can count till three and who can explain to him the matter with the superfluous charmer!

Source: Verlag für Kindertheater
  • Pratima Shekhawat (Hindi)
  • Hamsavanini Singh (Tamil)
  • Ashani Ranasinghe (Sinhala)
Translation of the information text in English: Amrita Dhara

Martin Heckmanns

Martin Heckmanns, born on October 19, 1971, in Mönchengladbach, studied comparative literature, history, and philosophy and lives in Berlin. For his play Schieß doch, Kaufhaus! (Shoot it, departmental store!), he was elected Young Author of the Year 2002 in the critics' survey of the specialist magazine Theater heute.

He won the audience award at the Mülheim Theatre Festival for Schieß doch, Kaufhaus! in 2003 and in 2004 once again for Kränk. In 2012 he was awarded the Margarete Schrader Literature Prize of the University of Paderborn. His plays have been performed at the Schauspiel Frankfurt, Staatstheater Stuttgart, Düsseldorfer Schauspielhaus, Staatsschauspiel Dresden, Burgtheater Vienna, Schauspielhaus Zurich and Deutsche Theater Berlin.

Source: Suhrkamp Theater Verlag

An audition at a theatre. After years of absence, the publicity-shy and legendary director Obermann has called for an audition. An experienced actor, an ambitious performer and a young woman have come to apply for an unknown role in a play that is yet to be written. When Obermann does not appear even after a long wait, the applicants assume that they are already under observation and they begin to prove their virtuosity to each other. They develop strategies of self-expression and of being together. Subsequently, a dominant assistant director and an apparently clumsy intern appear on Obermann's behalf and start distributing tasks and roles for a modern world theatre. In improvised game situations, the three applicants work together to draft a possible life in the near future. Celebrities give advice, allegories intervene with arguments about competition, compassion, consumerism and meaning. From the initial distance arises an attraction, restraint develops into a desire to transform. The confusing audition turns into an easy game about the art of living and dying. The star director stays away until the very end. Has he ever existed? Es wird einmal (Once Upon a Time in the Future) is a declaration of love for the theatre and a funny and relationship-enriched manifesto about the often-unused possibilities of the present-day stage.

Source: Suhrkamp Theater Verlag
Translation: Jayashree Hari Joshi
Translation of the information text in English: Amrita Dhara

Sibylle Berg

Sibylle Berg was born in Weimar, lived with a foster family in Constanta and later also in Israel, Germany and has Swiss citizenship. She studied in Hamburg, was active in Judo, Kung Fu and in military diving.  Sibylle Berg considers herself part of the Straight Edge movement and identifies herself as non-binary.

Sibylle Berg began writing while she was still studying (including oceanography) and has become one of the best-known contemporary playwrights in the German-speaking world with (current status 2020: 27 plays, 15 novels, numerous anthologies and radio plays, as well as complete translations into 34 languages. Sibylle Berg was awarded the Swiss Book Prize for her latest novel "GRM - Brainfuck". In 2020 she received the Grand Prix Literature for her work, the highest award given by Switzerland for literary work.

  • 2008 - Wolfgang Koeppen Prize
  • 2009 - Invitation to the Mühlheimer Theatertage
  • 2010 - Culture Prize of the Canton of Zurich
  • 2010 - Long List German Book Prize
  • 2012 - Nomination Swiss Book Prize (2012)
  • 2012 - Culture Prize of the City of Zurich
  • 2014 - Es sagt mir nichts. Best play of the year elected by "Theater Heute"
  • 2016 - Friedrich Luft Prize for the play "Und dann kam Mirna"
  • 2016 - Radio play award of the war-blind for "Und jetzt: Die Welt"
  • 2016 - Audience Award of the Mülheim Festival "Stücke - 2016" for "Und dann kam Mirna"
  • 2016 - Else-Lasker-Schüler Drama Prize
  • 2019 - Kassler literature prize for grotesque humor
  • 2019 - Thuringian Literature Prize
  • 2019 - Nestroy Theater Prize
  • 2019 - Swiss Book Prize for the novel "GRM - Brainfuck"
  • 2020 - Grand Prix Literature
  • 2020 - Berthold Brecht Prize
  • 2020 - Johann-Peter-Hebel-Preis
  • 2021 - "Play of the Year" in Theater heute's critics poll: And surely the world has disappeared with me
Source: Website Sibylle Berg

After the party: The young desperados in Sibylle Berg’s Und jetzt: die Welt! (And now: The World!) or Es sagt mir nichts, das sogenannte Draußen (The so-called Outside means nothing to me) have, in the meantime, become mothers – a single parent, or living in a traditional couple relationship or in a commune. The glamorous career has failed to materialise; instead, in the early / mid-30s, the realisation dawns that one is shockingly average, just as the energy to fundamentally change one’s own life decreases. Even so, Berg's women rebel again, wanting to leave their gentrified residential areas and move from the city to the countryside, away from social welfare benefits and childcare allowances and towards autonomous self-sufficiency. Only the enthusiasm of their children is kept within narrow limits. Berg has cleverly added a second layer to the figure of the mother Suada, who revolves around gender issues, capitalism, climate change, civil wars or the omnipotence of Google. For there has long since been a new generation, embodied by the daughter Mirna, that has developed completely different ways of dealing with the fears and ideals of their parents.

Source: Rowohlt Theaterverlag
Translation (Urdu): Syed Salman Abbas
Translation of the information text in English: Amrita Dhara

Simon Windisch

Simon Windisch completed his degree in German studies, philosophy and media studies at the KF University in Graz, Austria. He is the in-house director at the "TAO! Theater am Ortweinplatz" in Graz and has received numerous awards for his directorial work as well as for dramatisation and development of plays.

He has worked for the Volkstheater in Vienna, the Vorarlberger Landestheater and the Landestheater of Lower Austria, among others. Together with the theatre collective "Follow the Rabbit", Windisch has been developing plays for young audiences for many years, as well as performances and theatre concepts along with the group "The Planet Party Principle".

Source: Homepage Simon Windisch

Claudia is waiting for the celebrations to begin on the morning of her 9th birthday, as always with her parents, grandma and presents in the kitchen. But time stands still at 8:45 a.m., not a minute goes by, nothing happens. Claudia discovers a hole in the wall, quadruples herself and meets strange creatures from the world of carpets. She is stuck in a time warp, but it turns out to be a world of real adventures.

The feeling that time just doesn't want to pass while one is waiting – that is the starting point of this play by Simon Windisch, developed with the actors of the “Junge Hunde” (Young Dogs). Its performance takes the audience on a journey at standstill, in which physics meets monsters, and brings together the question of what time actually is with a redeeming pancake at the end.

Source: Mülheimer Theatertage
  • Mrunmayee Shivapurkar (Marathi)
  • Ashani Ranasinghe (Sinhala)
  • Shiv Prakash Yadav (Hindi)
Translation of the information text in English: Amrita Dhara

Thomas Köck

Thomas Köck was born in Upper Austria in 1986 and works as an author and playwright. He studied philosophy in Vienna and at the Free University, Berlin as well as Scenic Writing and Film Studies at the University of the Arts, Berlin.

He has been an assistant director for Claudia Bosse and an editor for the publishing house diaphanes. His documentary film on the civil war in Lebanon was invited to the Berlin Film Festival’s TALENTS programme and nominated for the Bosch Foundation Young Filmmaker’s Prize.  He has conceived a series of readings and events in Vienna, Berlin, and Mannheim. His plays are published by Suhrkamp Verlag and have been performed at various theatres including the Akademietheater Vienna, Thalia Theatre Hamburg, the Ruhrfestspielen Recklinghausen, Schauspielhaus Vienna, and the Karlsruhe State Theatre. He gained his first independent director’s credit in 2017. He has been a writer-in-residence at the National Theatre Mannheim and the winner of many awards including the Else-Lasker-Schüler Prize, the Austrian Theatre Alliance Playwriting Prize, the Thomas Bernhard Scholarship, and most recently the Kleist Prize for Most Promising Playwright. Together with other authors, he was also joint founder of the blog ‘nazisundgoldmund.net’ dealing with the political shift to the right across Europe.

Source: Fabulamundi 

The man and the woman from Vietnam stand in front of the Paris Commune cycle by the painter Bernhard Heisig and he reads something to her about "the political form that has finally been discovered". Outside, people are gathered together and they want to be one people, a new "we". The two got to know each other during the woman’s first medical examination in the brother-state of East Germany. He, working as the interpreter, is translating something for the doctor, while he says to the woman: "Where are you from / how long have you been here / where do you live now / where do you work / and anyway why / haven't we met before." She laughs, something she is not allowed to do, and the two become a couple. And when she becomes pregnant, she is technically not allowed to stay any longer in East Germany, because everyone knows that unskilled workers are not allowed to become pregnant, and if they do, either they themselves or the child has to go. But her child is born, and from one day to the next, it is East Germany that is gone.

Source: Suhrkamp Theater Verlag
Translation (Marathi): Milind Sant
Translation of the information text in English: Amrita Dhara

Thomas Melle

Born in 1975 in Bonn, Thomas Melle studied comparative literature and philosophy in Tübingen, Austin (Texas) and Berlin. In 2004 he made his debut as a playwright with 4 Millionen Türen (4 Million Doors) which was created together with Martin Heckmanns. Since then he has written numerous plays and novels that have received multiple awards. Thomas Melle lives in Berlin.

Prose works: Raumforderung (Space Claims, stories, 2007, Suhrkamp Verlag), Sickster (novel, 2011), 3000 Euro (novel, 2014), Die Welt im Rücken (The World At Your Back, novel, 2016), all published by Rowohlt Berlin Verlag.

Prizes and Awards
  • 2008: Most promising author award for the Bremen Literature Prize for Raumforderung (Space Claims)
  • 2008: Audience award at the “Gimme Shelter” authors' festival for partners
  • 2009: Most promising author award from the state of North Rhine-Westphalia
  • 2011: Franz Hessel Prize for Sickster
  • Nominations (shortlist) for the German Book Prize for 3000 Euro (2014) and for Die Welt im Rücken (The World At Your Back, 2016)
  • 2015: Berlin Art Prize in the literature category 
  • 2017: Klopstock Prize for New Literature for Die Welt im Rücken (The World At Your Back)
  • Nominations for the Mülheim Dramatist Prize for Bilder von uns (Pictures of Us, 2016), Versetzung (Transfer, 2018) and Ode (Ode, 2020)
  • 2017-2018: “Stadtschreiber” (City Chronicler) of Bergen
  • 2018: Honorary prize from the German Schiller Foundation
  • 2019: Nomination for Prix Italia for the radio play version of Bilder von uns (Pictures of Us) (DLF Kultur / NDR)
"Thomas Melle is a fascinating mannerist, especially in his stylistic hyperbole, who uses the medium of his language very convincingly to serve a psychologically exciting narrative that encompasses many internal dramas." (Ijoma Mangold)

“Melle's language is tough. The way it embraces human existence with furious energy and yet tenderly, grabs the reader and never lets him go." (Marcel Beyer)

Source: Rowohlt Theaterverlag

Ronald Rupp, a teacher, is loved by the students and respected by his colleagues. However, nobody knows that he is manic-depressive, even if the last attack was ten years ago and since then the disease has been kept in check with the help of medication. However, as Ronald comes under immense pressure both professionally and personally, it sets in motion a process of disintegration: Ronald's perception goes crazy - not least because everyone in his environment looks at him with different eyes, as they learn of his psychological instability.

Source: Rowohlt Theaterverlag
Translation (Marathi): Sunanda Mahajan
Translation of the information text in English: Amrita Dhara

Tina Müller

Tina Müller was born in 1980 in Zurich and grew up there. From 2001 to 2004 she pursued her academic studies in Cultural Studies at the University of Hildesheim, and from 2004 Drama Writing at the University of the Arts in Berlin.

In 2003 she was invited to “World Interplay”, the festival for young dramatists in Australia.

In 2007-2008 Tina Müller was a scholarship holder of the authors' laboratory at the Düsseldorfer Schauspielhaus, where she won the competition with her play Verlassen (Abandoned).

For her plays Bikini (2005) and 8 Väter (8 Fathers) (2010) she won awards at the Dutch-German children's and youth theatre festival Kaas & Kappes.

Bikini also received the 2nd Baden-Württemberg Youth Theatre Prize (2006) and the German Youth Theatre Prize (2008). In 2017 Dickhäuter (Pachyderm) was awarded the Mülheim Children's Play Prize.

Tina Müller is a member of the performance group magic garden. She lives in Berlin.

Source: Rowohlt Theaterverlag

There’s a new kid in class 2b. But she doesn’t fit in with the others: Lou cannot even chew gum properly, leggings don’t look good on her at all, and while twisting a rubber band she just ends up getting tangled. For Lou is a rhinoceros. And as much as she tries to belong, pretty soon nobody wants to play with her. They bully her and laugh at her. The other children think the rhino is not normal, and their parents think so too. Anyway: Isn’t a rhinoceros dangerous? Maybe it’s best for her to go to the zoo? Or will the children still find ways to get along with each other?

Source: Rowohlt Theaterverlag
  • Parthapratim Chattopadhyay (Bangla / Bengali)
  • Kamal Pruthi (Hindi)
Translation of the information text in English: Amrita Dhara