Nora Schlocker
Born in Rum, Austria, in 1983, Nora Schlocker trained as a theatre director at the Hochschule für Schauspielkunst «Ernst Busch» in Berlin. From 2008 to 2011 she was Resident Director at the Deutsches Nationaltheater Weimar and from 2011 to 2014 at the Düsseldorfer Schauspielhaus. She also created works at the Maxim Gorki Theater Berlin, the Vienna Schauspielhaus, Stuttgart State Theatre, the Residenztheater, Centraltheater Leipzig, Nationaltheater Mannheim, the Deutsches Theater Berlin and Staatsschauspiel Dresden. She became Resident Director at Theater Basel in 2015. Here her productions included world premieres of two plays by Ewald Palmetshofer: «Edward II. I am Love» after Christopher Marlowe, a co-production with the Vienna Schauspielhaus and the Wiener Festwochen, which was invited to the Swiss Theatertreffen in 2016, and «Before Sunrise» after Gerhart Hauptmann, which was invited to the 43rd Mülheimer Theatertagen and the Heidelberger Stückemarkt in 2018.
She has been Resident Director at the Residenztheater since the 2019/2020 season.
Productions
In sharp, precise poetic miniatures and snapshots, Roland Schimmelpfennig, one of Germany’s best-known contemporary playwrights, describes casual encounters, incidental gestures and fragments of conversation across a panorama of characters that go together to establish a kaleidoscopic image of a society suddenly brought to a standstill by a pandemic. Through skilful leaps in time, abrupt disjunctions and cleverly constructed transitions we follow the broadest possible range of characters enter a disparate and dissonant period after this shock – of social isolation, helplessness, fear and desperation.
Der Kreis um die Sonne (The circle around the sun)
With sharp-witted and pleasurable writing, Kevin Rittberger demonstrates why climate targets will never be achieved under the current economic regime, that work is self-defeating if it makes people ill and that the model of blood-based kinship is outmoded due to the current state of medicine and technology.
Der Entrepreneur (THE ENTREPRENEUR)
Calderón’s play tells of how Basilio, King of Poland, is given a prophecy that Sigismund will rise up against him, so keeps him locked up like an animal in a tower. In Hofmannsthal’s new version, which is rediscovered for the stage here, the author departed radically from the Spanish original.
Der Turm (THE TOWER)
The Italian writer Davide Enia is invited to a literary festival in Munich by his German colleague Albert Ostermaier – who suggests that he bring with him a text about the situation of the refugees in Southern Italy. For the Sicilian Enia, this is a pretext to travel to the island of Lampedusa, which he knows only as a holidaymaker. By October 2013 at the latest, when a shipwreck nearby caused hundreds of people to lose their lives, the island had become a shocking symbol of the European Union’s inability to prevent refugees dying in the Mediterranean Sea.
Finsternis (THE ABYSS)