Myriam Schröder studierte an der Folkwang-Hochschule der Künste in Essen Schauspiel. Zusätzlich zum Schauspielstudium studierte sie Tanz unter der künstlerischen Leitung von Pina Bausch. Nach der Schauspielschule wurde sie an das Düsseldorfer Schauspielhaus engagiert. Dort lernte sie die Regisseure Nicolas Stemann und Jürgen Gosch kennen, die ihre Arbeit maßgeblich prägten. 2002 wurde Myriam Schröder mit dem Förderpreis des Landes NRW ausgezeichnet. Im gleichen Jahr wechselte sie an das Hamburger Schauspielhaus und wurde anschließend an das Burgtheater in Wien engagiert, wo sie bis 2009 Ensemblemitglied war. Anschließend führten sie Engagements an das Kölner Schauspielhaus, an das Deutsche Theater in Berlin und an das Schauspielhaus Wien bevor sie 2015 Ensemblemitglied in Basel wurde. Myriam Schröder verbinden künstlerische Arbeitsbeziehungen mit den Regisseurinnen und Regisseuren Nora Schlocker, Sebastian Hartmann, Karin Beier, Nicolas Stemann, Claudia Bauer, Simone Stone, Calixto Bieito und Mateja Koležnik. 2019 folgte sie Andreas Beck ans Residenztheater.
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)
When Goethe set «Götz von Berlichingen» down on paper in 1771 in a true writing frenzy, the 22-year-old writer was still a complete unknown. This came to an abrupt end with the publication of «Götz», as suddenly the young poet was being talked about everywhere. Goethe’s early work is a powerful stage epic with over fifty locations, several plots running in parallel and a huge cast of characters. What is more: Goethe dispensed with all the customary conventions that 18th century drama had been using up to that point.Götz von Berlichingen
At Whitsun the lion king Nobel invites his subjects to his court for an early summer celebration. The entire animal kingdom gathers – ranging from the crane to the wolf and the bear. Only one animal is missing: the fox called Reineke. As soon as his name his mentioned, the mood of harmony vanishes. One angry accusation follows another and Reinike the fox is charged in his absence with a series of incredible crimes. The cockerel, for example, complains of losing his wife and children – Reineke ate them for supper. When he is eventually put on trial, the accomplished liar – an animal equivalent of Ibsen’s Peer Gynt – manages to pull the wool over everyone’s eyes – man, woman or creature – and slip his neck out of the noose. Eventually he even acquires a whole crowd of followers and is elected Chancellor.
The moral of the story is that not everyone with foxy cunning and a talent for oratory puts those gifts to benevolent use – on the contrary! But how can we tell the difference between truth and lies? How can we avoid being taken in by the peddlers of fake news? How can we remain faithful to our own opinions and values?Reineke Fuchs
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)