Max Mayer

Geboren 1974 in Wien, studierte Max Mayer am Konservatorium der Stadt Wien Schauspiel. Nach zahlreichen Arbeiten als freier Schauspieler war er unter anderem von 2006 bis 2008 Ensemblemitglied am Schauspielhaus Graz, von 2008 bis 2013 im Ensemble des Schauspielhaus Wien sowie von 2014 bis 2016 am Schauspiel Frankfurt auf der Bühne zu erleben. 2011 erhielt er den Nestroy-Preis als «Bester Schauspieler». Weitere Engagements führten an das Thalia Theater Hamburg, Deutsche Schauspielhaus Hamburg, an das Schauspielhaus Bochum sowie an das Burgtheater Wien und das Schauspiel Köln. Eine intensive Zusammenarbeit verbindet ihn mit dem Regisseur Robert Borgmann. Seit der Spielzeit 2019/2020 ist er im Ensemble des Residenztheaters. 

In der Spielzeit 2021/2022 wagen sich Max Mayer und Jonas Vogt auf besonderes Terrain mit ihrer installativen Auseinandersetzung mit Existenz, Verlust, Trauer und Transformation ausgehend von Fritz Zorns «Mars», Premiere am DO 23 SEP auf der Wittelsbacher Wiese hinter dem Marstall.

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
Tue 14 Dec
Cuvilliéstheater, 19.30 o'clock
Mon 10 Jan
Cuvilliéstheater, 19.30 o'clock
Thu 13 Jan
Cuvilliéstheater, 19.30 o'clock
Sat 15 Jan
Cuvilliéstheater, 19.30 o'clock
Tue 18 Jan
Cuvilliéstheater, 19.30 o'clock
Thu 20 Jan
Cuvilliéstheater, 19.30 o'clock
Wed 26 Jan
Cuvilliéstheater, 19.30 o'clock
Thu 27 Jan

A golden age and decades of peace appear to have come to an end with the death of the Danish king. His successor Claudius attempts to soothe these burgeoning conflicts with diplomacy, but Prince Hamlet, the dead king’s son, refuses to accept his uncle as heir to the throne and his mother’s new husband. While the people seems willing to let itself be convinced of the new ruler’s illegitimacy, Hamlet has no desire to take his place – and thus, perhaps unconsciously, sabotages the traditional concept of political order itself.

Hamlet
Residenztheater, 19.00 o'clock
Sun 05 Dec
Residenztheater, 18.00 o'clock
Sun 12 Dec

It takes the physical pain of cancer to break through Fritz Zorn’s protective shell of a cultivated «insensitivity of the soul». It is not until he is in danger of dying that his resistance awakens against not being allowed to live: «I am young and rich and educated: and I am unhappy, neurotic and alone.» With these words the Swiss author Fritz Zorn opens his reckoning with this background, family and education. However: his contemplation of death is a contemplation of freedom. The art of dying liberates the individual from all subjugation and compulsion and by accepting one’s own finality it offers the possibility of seeing oneself as part of an overarching process of transformation.

Mars