Mareike Beykirch

Geboren 1986 in Quedlinburg, arbeitete Mareike Beykirch zunächst als Regieassistentin am Theater Osnabrück. Ihre Schauspielausbildung absolvierte sie von 2008 bis 2012 an der Hochschule für Musik und Theater «Felix Mendelssohn Bartholdy» Leipzig. Bereits während des Studiums war sie von 2010 bis 2012 Mitglied im Studio am Centraltheater Leipzig. Ihr Erstengagement führte sie an das Düsseldorfer Schauspielhaus. Mareike Beykirch war von 2013 bis 2019 Ensemblemitglied am Maxim Gorki Theater in Berlin. 2013 und 2018 wurde sie von der Kritikerumfrage der Zeitschrift «Theater heute» zur Nachwuchsschauspielerin des Jahres nominiert. Beim Berliner Theatertreffen 2019 war sie Stipendiatin des Internationalen Forums. Sie arbeitete u. a. mit Falk Richter, Nora Abdel-Maksoud, Schorsch Kamerun, Yael Ronen, Christian Weise, András Dömötör und Nurkan Erpulat zusammen.

Performing in

«Agnes Bernauer», first performed in the GDR in 1977, starts like a stop-motion fairy tale: after the death of her mother, Agnes is sent out to work by her bankrupt father. But she is unable to believe that she will find a profession that «gives her pleasure», and decides to marry money. Her rise in society happens quickly: Agnes becomes pregnant and takes Albrecht as a husband: a squeamish only child and mother’s boy who is pampered in the golden cage of the Werdenfels’ family business.

Agnes Bernauer
Cuvilliéstheater, 19.30 o'clock
Today
Cuvilliéstheater, 19.30 o'clock
Wed 26 Jan
Cuvilliéstheater, 19.30 o'clock
Thu 27 Jan
Cuvilliéstheater, 19.30 o'clock
Tue 01 Feb
Cuvilliéstheater, 19.30 o'clock
Fri 04 Feb
Cuvilliéstheater, 19.30 o'clock
Thu 24 Feb
Cuvilliéstheater, 19.30 o'clock
Fri 25 Feb

Disappearing, fading away, vanishing and escaping – Aristophanes’s comedies deal with everything in the world that is ephemeral: life, happiness, property, knowledge and trust. They tell us about the complicated business of being human, about the problem of the just distribution of wealth, about greed, twisted rhetoric, and the eternal incompatibility between theory and practice.

Die Wolken, die Vögel, der Reichtum (The clouds, the birds, wealth)

From 1909 to 1916 the French dramatist Paul Claudel worked on an historical trilogy whose central piece is «Dry Bread». Through its characters he makes visible the social, political and spiritual changes of the 1840s that had begun with the French Revolution. Those who had previously driven the Enlightenment were now the exploiters of the restoration. Once lofty ideals had been corrupted, egotism and greed had triumphed. A fight breaks out between Turelure, a representative of the old order, his beloved Sichel, his son Louis and Louis’s fiancé Lûmir over the essentials: money, revenue, power. With great violence and a keen business sense they are each determined to achieve their own vision of the future. Above all the women, who have not been permitted to conduct business until now, strive to inscribe their own names on this phase of radical change. The dramatist Anja Hilling, who has already overwritten Claudel’s work on several occasions, transposes his historical drama into our own time.

Teile (hartes Brot) - Parts (Dry bread)