The first performance of Pension Schöller took place in Berlin in 1890, was filmed several times and has since regularly caused tears in the theater, of course with laughter. Thomas Jonigk undertakes a fundamental reworking of the play and transports the supposedly harmless comedy into our Federal Republic reality, where the boundaries between delusion, grotesqueness, nightmare and political everyday life can often no longer be drawn. Staatstheater Kassel, premiere July 2, 2021
Klaus Mann outlined in his novel the timeless dancing on the volcano and the fall of the glamorous. A panorama of his contemporaries, the artists and intellectuals, children of the gods of the Golden Twenties, who did not want to give up their ecstasy even when swastikas were already flying over Babylon. But above all, the text is a portrait of a famous actor: Gustaf Gründgens. Staging by Thomas Jonigk at the Staatstheater Kassel.
Starting from an omnipresent end-time mood, Emre Akal and his team ask for this: "What is it that you are looking for? What comes after the imaginable future, after the collapse of liberal democracy and old Europe as we knew it? In a formally abstract world of images, they let the future rub against the past - always remembering: What are we leaving behind as society today, the people of the future, and will we have learned from our mistakes? What remains of... us?
"Sometimes I ask myself how they can do that: to hate so much. How they can be so sure. Because that's what the haters must be: safe. Otherwise they wouldn't speak like that, hurt like that, murder like that. They must be sure. Without any doubt. Doubtful of hate cannot be hated." On the basis of concrete incidents, Emcke examines institutional racism, group-related misanthropy and disregard and finally pleads for a heterogeneous society and humanism.
Didier Eribon's book of the same name was published in German in 2016 and quickly became a bestseller. The resulting debate about the socially "dependent", who are overflowing to the right-wing camp, continues to be lively. In the theatre version by director Thomas Jonigk we bring Eribon's hybrid narrative between sociological study, emotional-biographical narrative of a boy growing up in a homophobic environment and pure poetry to the stage of Schauspiels Köln.
Another "Romeo & Julia". Same same but different. In the nursing home the "Don'tforgetmine-choir" sings against forgetting. Staging by Luk Perceval at the Bolshoi Drama Theatre St. Petersburg.
In this "Another kind of Romeo & Juliet", as director Luk Perceval also calls his evening, Tobias Moretti takes on the role of the orderly, meticulous librarian Désiré, who decides to become demented before his 74th birthday out of displeasure over his life. He wants to spend his last years of his life in peace: in a nursing home. There he sees Rosa again, the great, unfulfilled love of his youth, the "Julia", which he could never forget.
Hans Schnier's relationship with his girlfriend Marie is a thing of the past. But he can't let her go. Again and again he is haunted by nightmarish pictures and figures from his former life. It rages in him and he rages along. From the inner emigration he defends his standards of value against the German restoration society. Staging by Thomas Jonigk at the Schauspiel Köln.