Geboren 1994 in Berlin, absolvierte Antonia Münchow ihr Schauspielstudium an der Hochschule für Musik und Theater Hamburg und an der Hochschule für Musik, Theater und Medien Hannover. Sie war Teil des Jugendclubs der Volksbühne P14 und war bereits vor dem Studium in der Regie von Willem Wassenaar am Jungen DT Berlin zu erleben. In der Spielzeit 2018/2019 wirkte sie am Theater Göttingen. Seit der Spielzeit 2019/2020 ist sie Ensemblemitglied am Residenztheater. Sie arbeitete bereits mit namhaften Regisseur*innen wie Claudia Bauer, Simon Stone, Ulrich Rasche, Bastian Kraft und Nora Schlocker.
It is centred on Argan, who not only imagines he is ill, he actually is: he is suffering from hypochondria. As a result, he cannot and will not relate to his social surroundings any differently than he does to his misfortune, which he circles in tyrannical self-reflection. With «The Imaginary Invalid», the Cologne-based writer and musician PeterLicht writes his fourth new version of Molière: in his customary playful language he dissects both the individual body and the body of society and breaks the final taboo of neoliberal self-optimisers – that of mortality.Der eingebildete Kranke oder das Klistier der reinen Vernunft (The imaginary invalid or the enema of pure reason)
Lola Montez was one of the most dazzling female figures in the history of Bavaria and the city of Munich. When Lola – who was actually born Elizabeth Rosanna Gilbert – arrived in Munich in 1846, the immigration police recorded her as: «artist, dancer from Sevilla, Spain, 24 years old, Catholic, no passport.» A short time later she had become the lover of the Bavarian King Ludwig I. However, it would be too simple to reduce this fascinating woman to the scandals that were often no more than allegations against her: because in both her thinking and her actions she was centuries ahead of her time.