Geboren 1990 in Berlin, studierte Max Rothbart an der Hochschule für Musik und Theater «Felix Mendelssohn Bartholdy» Leipzig. Von 2013 bis 2015 spielte er noch während des Studiums am Staatsschauspiel Dresden. Sein Erstengagement führte ihn 2015 an das Theater Basel und durch Koproduktionen an das Schauspiel Köln und das Burgtheater Wien, wo er u. a. mit den Regisseur*innen Simon Stone, Claudia Bauer, Martin Laberenz, Schorsch Kamerun, Nora Schlocker, Ulrich Rasche und Stefan Bachmann arbeitete. 2019 folgte er Andreas Beck ans Residenztheater.
2022 erhielt er den Bayerischen Kunstförderpreis in der Sparte Darstellende Kunst und den Förderpreis des Kurt-Meisel-Preises der Freunde des Residenztheaters für seine besonderen schauspielerischen Leistungen.
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)
The author and musician PeterLicht frees this moral portrait that we now find barely legible from the socio-political reality of French absolutism and sets his sights on the present in his new version «Tartuffe or the Philosopher’s Swine». Here he employs the same characters as the original, whose literary descendants are nevertheless given considerable licence: in secular times one abhors a vacuum and so the «socially interconnected sculpture» hopes for and fears the appearance of Tartuffe, who serves to supply their wishes and as a surface onto which they may project themselves.Tartuffe oder Das Schwein der Weisen (Tartuffe or the philosopher's swine)
«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
In her new work, the director Claudia Bauer, who has been invited to the Berlin Theatertreffen four times and is renowned for her work with fast and furious acting ensembles, now tackles someone who typifies Munich, the brilliant comedian Karl Valentin. In her usual, opulent stage language she will devise a homage to the Bavarian whose anarchic approach to language led the critic Alfred Kerr to invent the term «Wortzerklauberer», someone who steals words and tears them to pieces.Valentiniade. Sportliches Singspiel mit allen Mitteln (VALENTINIADE. SPORTING SINGSPIEL WITH NO HOLDS BARRED)