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.
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.
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
After almost 17 years of making work underground, Belarus Free Theatre has been forced to leave their home country because it was no longer safe. Tom Mustroph spoke to co-director Natalia Kaliada and company manager Svetlana Sugako about the reasons they felt it necessary to escape – and their future plans.
Mateja Koležnik’s production of The Crucible (Hexenjagd) is currently being presented by the Berliner Ensemble. Tom Mustroph talks to the director about the political climate in Slovenia and why we now live in the digital Middle Ages.