Geboren 1987 in München, studierte Lisa Stiegler an der Hochschule für Musik und Theater Hamburg Schauspiel, wo sie eine enge Zusammenarbeit mit Gernot Grünewald verband. 2010 begann sie ihr Erstengagement im Studio des Schauspiel Frankfurt und wechselte dann ins Ensemble. Dort arbeitete sie regelmäßig mit Andreas Kriegenburg und Philipp Preuß. 2015 wechselte sie von Frankfurt an das Theater Basel, wo sie bis 2019 Ensemblemitglied blieb. Lisa Stiegler arbeitete außerdem mit Kevin Rittberger, Thom Luz, Falk Richter und Dave St. Pierre sowie Schorsch Kamerun, Stephan Kimmig, Ivna Žic und Annalena Fröhlich. Seit der Spielzeit 2019/2020 ist sie festes Ensemblemitglied am Residenztheater. 2021 erhielt sie von den Freunden des Residenztheaters den «RESI SENDET-Digitalpreis». Zudem wurde ihr der AZ-Stern des Jahres 2022 als beste Schauspielerin verliehen. Zusammen mit Theresa «BiMän» Bittermann, Sara Dec, Barbara Horvath, Marie Gimpel und Friederike Meisel entwickelte sie 2022 ihr erstes Projekt «(Nicht)Mütter!».
The director Elsa-Sophie Jach, who recently made her debut at the Residenztheater with her production of Herbert Achternbusch’s «Heart of Glass», brings the outrageous love poetry of «Europe’s first poet» to new life. Known for a directing style characterised by precise language and strong visuals, she hunts down the forgotten remains of Sappho’s poems, condenses them into a chorus and, on a tour through the literary canon together with the Munich techno live band SLATEC, she exposes the systematic erasure of the female voice, its silencing and the need for it to empower itself.Die Unerhörten (The outrageous ones)
Disappearing, fading away, vanishing and escaping – Aristophanes’s comedies deal with everything in the world that is ephemeral: life, happiness, property, knowledge and trust. They tell us about the complicated business of being human, about the problem of the just distribution of wealth, about greed, twisted rhetoric, and the eternal incompatibility between theory and practice.Die Wolken, die Vögel, der Reichtum (The clouds, the birds, wealth)
Hamsun’s trilogy tells the story of a man who feels he has been overlooked by the elites that set the tone and cheated of social recognition. The philosopher Ivar Kareno evolves from a 30-year-old radical and anti-liberal writer on the fringes of poverty into a 40-year-old private tutor to the two sons of a businessman in a distant coastal region. Here Kareno sits brooding in his writing tower, while an infectious fever descends on people, arriving from the North, the businessman Otermann is driven mad by his wealth and a strange man wanders between the houses, rumoured to be justice. Ten years later, the 50-year-old Kareno is still hoping for a major turning point in his life. And he will indeed reach a milestone where he must decide whether he will remain true to the radical ideas of his youth or to pursue a career that is more measured politically.Spiel des Lebens (The game of life)
In his plays, the Chilean director and playwright Guillermo Calderón achieves an entirely original combination of humour and political power. Many of his texts are highly comic tales of the prejudice, ignorance and egotism that come to light through intercultural exchange. His latest play for the Residenztheater tells of the efforts of a religious sect in Munich to advertise for a newly founded settlement in Chile.Bavaria
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 text of «(Non)Mothers!» weaves together answers from 22 interviews on the subject of (non-)motherhood – into a play about decisions, doubts (still) births, terminations, transformations and actions of bravery.(Nicht)Mütter! ((NON)MOTHERS!)