Florian Jahr

Geboren 1983 in Ostberlin, studierte Florian Jahr von 2003 bis 2007 an der Hochschule für Schauspielkunst «Ernst Busch» in Berlin. Er gastierte am Deutschen Theater und am Maxim Gorki Theater in Berlin, bevor er von 2008 bis 2011 sein erstes Festengagement am Deutschen Nationaltheater in Weimar antrat. Anschließend gehörte er zum Ensemble des Düsseldorfer Schauspielhauses. Hier arbeitete er u. a. mit Kevin Rittberger, Dušan David Pařízek, Nora Schlocker, Martin Laberenz und Staffan Valdemar Holm. 2015 wechselte er an das Theater Basel, wo er z.B. in Inszenierungen von Simon Stone, Felicitas Brucker, Dani Levy oder Nuran David Calis zu sehen war. 2019 folgte er Andreas Beck ans Residenztheater.

Performing in

PART I: MILLENNIUM APPROACHES

PART II: PERESTROIKA

The mid-1980s: the outbreak of the disease AIDS alarms New York. Louis, son of a wealthy Jewish family, abandons his sick boyfriend Prior and starts a relationship with conservative Mormon lawyer Joe. When Joe’s drug-dependent wife Harper retreats into dreams of everlasting ice, his strictly religious mother flies in outraged from Salt Lake City. The Republican Roy Cohn, a cynical and power-obsessed lawyer, insists until his last breath that he is not gay and does not have AIDS. Even on his deathbed, he refuses to stop arguing about this with his black nurse Belize. And then an angel breaks through Prior’s bedroom ceiling.

Engel in Amerika (Angels in America)

«After Midnight» tells the story of two days in 1936. Nineteen-year-old Sanna takes refuge with her brother Algin, a blacklisted author. In between the parties, cafes and bars she begins to recognise that the world she lives in has been increasingly taken over by ideology. Keun’s novel from exile is a haunting depiction of daily life under fascism – her second international success after «The Artificial Silk Girl».

Nach Mitternacht (After Midnight)
Premiere
Marstall
Sun 28 Sep
Marstall, 20.00 o'clock
Tue 30 Sep
19.30 Introduction
Marstall, 20.00 o'clock
Wed 08 Oct
Marstall, 19.00 o'clock
Sun 12 Oct
Marstall, 20.00 o'clock
Mon 20 Oct

The «freedom to act» forms the core of Jean-Paul Sartre's philosophical thinking. What this freedom means for the individual is exemplified in «The Flies» - Sartre's rewriting of Aeschylus' second part of the «Oresteia». Should Orest, who has returned home from exile, take revenge for the murder of his father Agamemnon? And if so, what price is he prepared to pay?

Die Fliegen (The Flies)

1937 in a fishing village after the outbreak of the Spanish Civil War. Mrs. Carrar has forbidden her sons to join the fight against Franco. She desperately hopes to be spared war and terror. But how much longer can she protect herself and her sons? And what should she say to her brother, who demands that she hand over the guns hidden in the house and asks the all-important question: «If the sharks attack you, is it you who will use violence?» In Brecht's short play, everything revolves around the unsettling question of the possibility of neutral abstention. In his play «Choking Lead», playwright Björn SC Deigner continues Brecht's question in the present and searches for a language for the timeless horror of war and destruction.

Die Gewehre der Frau Carrar/Würgendes Blei (Senora Carrar’s rifles/Choking Lead)
19.30 Introduction
Marstall, 20.00 o'clock
Mon 06 Oct
Marstall, 20.00 o'clock
Fri 10 Oct
Marstall, 20.00 o'clock
Wed 29 Oct

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
Residenztheater, 15.00 o'clock
Sat 18 Oct

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
Residenztheater, 19.00 o'clock
Sat 18 Oct

No other play by Heinrich von Kleist inspires quite so many superlatives as «Käthchen of Heilbronn». It is not only the most successful, but also the most romantic, the most fairy tale-like and at the same time the most mysterious play that he wrote.

Das Käthchen von Heilbronn (Käthchen of Heilbronn)

Intrigues, conspiracies, political intrigues - Schiller's tragedy depicts the power struggle between the English Queen Elizabeth I and the Scottish Queen Mary Stuart. But what if only chance decides between power and powerlessness? Then the roles could also be «swapped». For each performance, a draw is held to decide which of the two actresses will play the victor or the vanquished.

Maria Stuart
19.00 Introduction
Residenztheater, 19.30 o'clock
Tue 21 Oct
WITH ENGLISH SURTITLES
Tickets Save date
19.00 Introduction
Residenztheater, 19.30 o'clock
Thu 30 Oct
WITH ENGLISH SURTITLES
Tickets Save date

What do we need to make theatre? Does theatre have a tangible impact on our lives?

Based on a reading of Bertolt Brecht's 77-part «A Short Organum for the Theatre», the South Korean director Kyung-Sung Lee and the ensemble of the Residenztheater explore the current crises in Korea, Germany and the world, playfully testing whether Brecht could still help us to understand the world better today.

77 Versuche, die Welt zu verstehen (77 attempts to understand the world)
Only a few more times
Marstall, 20.00 o'clock
Thu 09 Oct

After many years, Gregers returns to his home country. His father, a successful entrepreneur, offers him the opportunity to join the company management, from which he has to retire for health reasons. Gregers refuses and at the same time learns that his father is secretly financially supporting the family of his old friend Hjalmar Ekdal, who lives in the most modest of circumstances, and becomes suspicious. Why is the capitalist suddenly showing himself to be a philanthropist? In his tragedy, Henrik Ibsen shows how the capitalist system has a direct impact on the private sphere and undermines social cohesion. The Norwegian Johannes Holmen Dahl, one of the most sought-after directors in Scandinavia, is now staging his German debut with a major work by his famous compatriot.

Die Wildente (The wild duck)