Geboren 1980 in München, absolvierte Vincent Glander sein Schauspielstudium an der Universität für Musik und darstellende Kunst in Graz und ging für sein erstes Engagement an das Theater Biel-Solothurn. Von 2007 bis 2012 war er am Schauspielhaus Wien engagiert und arbeitete dort mit Regisseur*innen wie Felicitas Brucker, Nora Schlocker, Antonio Latella, Jette Steckel und Sebastian Schug. Anschließend war er Ensemblemitglied am Schauspiel Frankfurt, wo er u. a. mit René Pollesch, Johanna Wehner, Sebastian Hartmann und Christopher Rüping arbeitete, bevor er 2016 an das Theater Basel wechselte. Dort arbeitete er wiederum mit Antonio Latella zusammen sowie u. a. mit Stephan Kimmig, Claudia Bauer und Guillermo Calderón. 2019 folgte er Andreas Beck ans Residenztheater.
A caretaker is murdered with no reason or motive. Alienated from himself and life in general by a working day that is always the same, a bank clerk seizes an axe and commits murder. This action lacking any obvious cause shocks state prosecutor Martin, who is in charge of the case. In the murder and his crime he can see a reflection of his own imprisonment in a bourgeois existence dominated by duty, law and order. The prosecutor is immediately struck by an existential fear that drives him to escape into the fairy tale world of a mysterious alter ego: the world of Count Öderland.Graf Öderland (Count Öderland)
When Goethe set «Götz von Berlichingen» down on paper in 1771 in a true writing frenzy, the 22-year-old writer was still a complete unknown. This came to an abrupt end with the publication of «Götz», as suddenly the young poet was being talked about everywhere. Goethe’s early work is a powerful stage epic with over fifty locations, several plots running in parallel and a huge cast of characters. What is more: Goethe dispensed with all the customary conventions that 18th century drama had been using up to that point.Götz von Berlichingen
«Peer, you’re lying!»: Henrik Ibsen immediately highlights the key theme of his dramatic poem in its opening line – the blurred boundary between illusion and reality. Because Peer, whose youth is shaped by the poverty of his farming background, continually reinvents himself with the aid of stories, lies and the arts of fabulation – as a cosmopolitan, a colonial master and even an Emperor.Peer Gynt
Chekhov’s texts, first and foremost his youthful fragment «Platonov», form the starting point for a new evening of musical theatre by resident director Thom Luz. He has borrowed the title from a Russian film version of «Platonov» from 1977 and assembles a society that attempts to discern the melody of the joys and horrors of the future from the songs of a long-forgotten time.Warten auf Platonow (Waiting for Platonow)