Tom Mustroph spoke to theatre practitioners from Ukraine, Israel, and Hong Kong about the different ways in which theatre can react to catastrophe.
Tom Mustroph works in Berlin and Palermo as a freelance journalist and dramaturg. He operates in several journalistic fields, such as theatre, fine arts and sports. He is most interested in how self-responsible work can succeed elegantly and in accordance to minimal moral standards. He collaborates with several German language publications such as taz, FAZ, Neues Deutschland, NZZ, Theater der Zeit, zeit online, Deutschlandfunk and WDR.
Oliver Frljić completes his Maxim Gorki war trilogy with a piece drawing on Heiner Muller to explore war and slaughter throughout history
This year’s Radar Ost, Deutsches Theater’s festival of eastern European work, focused on Ukraine and also featured work from Belarus Free Theatre and Žiga Divjak.
Dancer and choreographer Dragana Bulut’s new work Beyond Love is the third piece in her trilogy about technology. She talks to Tom Mustroph about commodification, the nature of love and making work with a female companion robot.
Oliver Frljic directs an artistically underwhelming production of Brecht’s play Mother Courage and Her Children with an all-female cast at the Maxim Gorki Theatre.
Writer, director and filmmaker Hakan Savas Mican on making work about the migrant experience and why it’s important to talk about questions of class.
Laibach on their show Wir sind das Volk, based on the work of Heiner Müller, the relationship between the military, music and theatre, and the art of provocation
Oliver Frljić on theatre’s response to the war in Ukraine, the concept of ‘character, and making his return to the Croatian theatre scene.
Moldovan playwright and director Nicoleta Esinencu talks about Symphony of Progress, her new production for Berlin’s HAU and Teatru-Spalatorie, her independent theatre in Chisinau.
Andras Dömötör talks about his new production of Karpatenflecken, for Deutsches Theater, the need to reclaim the idea of nationality from the nationalists and whether it is possible to have true freedom of artistic expression in Orban’s Hungary