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.
After «The Three Musketeers», who continue to gallop across the Residenztheater stage, the Italian director Antonio Latella and his co-writer and dramaturg Federico Bellini now tackle the second great classic about famous swordsmen. They take Rostand’s play as the starting point for research into the nature of theatre and love, in which instead of the more than fifty characters presented in the original, only two performers stand on stage. The two men now have to tell the story without the object of their desires and have no muse to inspire their verses.
Cyrano de Bergerac
«Danton’s Death», written by the 22-year-old Georg Büchner in a mere five weeks in 1835 following extensive research, is based on historical sources and documents from the French Revolution, whose maxims of «liberty, equality and fraternity» shaped our understanding of modern European democracies. However, Büchner does not tell of the triumphant beginnings, the storming of the Bastille as part of a popular uprising that continues to be celebrated today, focusing instead on a few days towards the end of the Jacobins’ so-called reign of terror in the spring of 1794.Dantons Tod (Danton’s Death)
New York City in the final months of the Obama Presidency. While the writer Toby Darling feverishly awaits the premiere of his play, his partner Eric Glass spends time with his acquaintance Walter. His conversations with the 55-year-old take Eric back to a past which as a gay man in his early thirties he only knows from hearsay: the devastating AIDS epidemic that rocked the LGBTQ community at the beginning of the 1980s.Das Vermächtnis (The Inheritance) – Part 1
New York City in the final months of the Obama Presidency. While the writer Toby Darling feverishly awaits the premiere of his play, his partner Eric Glass spends time with his acquaintance Walter. His conversations with the 55-year-old take Eric back to a past which as a gay man in his early thirties he only knows from hearsay: the devastating AIDS epidemic that rocked the LGBTQ community at the beginning of the 1980s.Das Vermächtnis (The Inheritance) – Part 2
In June 1816 the «Medusa», the fastest frigate of its time, sets to sea. Its destination is Saint-Louis in Senegal. There are two hundred and forty people on board – besides the sailors, most of them are soldiers, but they also include the colony’s Governor and his family together with priests, teachers, doctors and engineers. Two days’ journey from their destination the ship runs aground on a sandbank and splits. As there is not enough room for everyone in the lifeboats, a raft is cobbled together for the lifeboats to tow on shore. But as soon as they set off, the rudderless and heavily overloaded raft is left behind by the boats on which the dignitaries are rescuing themselves. Of one hundred and seventeen men only fifteen will survive. Many of them will fall victim to their own comrades because the few goods they were able to save – barrels of wine, sodden biscuits, a few weapons and valuables – are as heavily fought over as the power the make decisions about possible rescue measures.Der Schiffbruch der Fregatte Medusa (The shipwreck of the frigate Medusa)
The Three Musketeers, of whom there are actually four, appear and think about their loneliness. Can their famous slogan «One for all and all for one» be explained mathematically? Who is «the one» here? And who are «all»? They transform themselves into their own servants and horses and reconstruct Dumas’s story – and above all they question it. The musketeers are fighting for their lives and the actors are acting as if their lives depend on it.Die drei Musketiere (The three musketeers)
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
Imagine that you haven’t been born yet. And imagine too that your whole life so far is unimportant. Just like all the opportunities you might have missed or bad decisions you might have made. Leave it all behind you. In «Now or Never» we are going to make a completely fresh start!Jetzt oder nie (NOW OR NEVER)
«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)