Schedule

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.

No other play by Heinrich von Kleist inspires quite so many superlatives as «Käthchen of Heilbronn». It is not only the most successful, but also the most romantic, the most fairy tale-like and at the same time the most mysterious play that he wrote.

Slavoj Žižek, the Slovenian philosopher «as controversial as he is indisputably original» (Süddeutsche Zeitung), has transferred Sophocles' tragedy into the present in his play «The Three Lives of Antigone». And as an ethical-political exercise, he invented three different variants of the plot. In one of his rare and highly entertaining live performances in Munich, he talks with SZ editor Andrian Kreye about guilt and justice, love and tradition, law and faith.

The event will take place in English with German translation.

No other play by Heinrich von Kleist inspires quite so many superlatives as «Käthchen of Heilbronn». It is not only the most successful, but also the most romantic, the most fairy tale-like and at the same time the most mysterious play that he wrote.

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.

New York City in the final months of the Obama Presidency. While the writer Toby Darling feverishly awaits the premiere of his play, his partner Eric Glass spends time with his acquaintance Walter. His conversations with the 55-year-old take Eric back to a past which as a gay man in his early thirties he only knows from hearsay: the devastating AIDS epidemic that rocked the LGBTQ community at the beginning of the 1980s. 

New York City in the final months of the Obama Presidency. While the writer Toby Darling feverishly awaits the premiere of his play, his partner Eric Glass spends time with his acquaintance Walter. His conversations with the 55-year-old take Eric back to a past which as a gay man in his early thirties he only knows from hearsay: the devastating AIDS epidemic that rocked the LGBTQ community at the beginning of the 1980s.

New York City in the final months of the Obama Presidency. While the writer Toby Darling feverishly awaits the premiere of his play, his partner Eric Glass spends time with his acquaintance Walter. His conversations with the 55-year-old take Eric back to a past which as a gay man in his early thirties he only knows from hearsay: the devastating AIDS epidemic that rocked the LGBTQ community at the beginning of the 1980s. 

New York City in the final months of the Obama Presidency. While the writer Toby Darling feverishly awaits the premiere of his play, his partner Eric Glass spends time with his acquaintance Walter. His conversations with the 55-year-old take Eric back to a past which as a gay man in his early thirties he only knows from hearsay: the devastating AIDS epidemic that rocked the LGBTQ community at the beginning of the 1980s.

In «Archive of Tears» Magdalena Schrefel invents a commemorative space that preserves the most fleeting signs of human feelings – tears. This universal, human, salty secretion that leaks from the organs of our sight, the eyes, seems to combine the body and emotion, the mind and chemistry in an almost alchemical fashion: feelings – of movement, grief or joy – are translated into a physical language.

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.

The next «Resi Workshop» on 16 JAN 2023 will be dedicated to the play «Valentiniade. Sporty Singspiel with all means». Together with ensemble member Lukas Rüppel and theater pedagogue Linda Nerlich, we will approach Karl Valentin's linguistic acrobatic and tragicomic art and become active ourselves. A workshop that will make everyone sweat.

On Monday, 6 FEB 2023 will be the Resi workshop on the play «Antigone».

More detailed info will follow soon.

Chekhov’s texts, first and foremost his youthful fragment «Platonov», form the starting point for a new evening of musical theatre by resident director Thom Luz. He has borrowed the title from a Russian film version of «Platonov» from 1977 and assembles a society that attempts to discern the melody of the joys and horrors of the future from the songs of a long-forgotten time.

No other play by Heinrich von Kleist inspires quite so many superlatives as «Käthchen of Heilbronn». It is not only the most successful, but also the most romantic, the most fairy tale-like and at the same time the most mysterious play that he wrote.

With her silent protest in front of the Swedish parliament building in 2018, Greta Thunberg, then 15 years old, initiated a global movement. Students and young adults have been organizing Fridays for Future strikes for three years now, demonstrating for a better future and against inaction in the face of a climate catastrophe that is already taking place.

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.

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.

Claire Fletcher, the priest of a small town, becomes the witness and victim of an act that defies comprehension. During a rehearsal of the community choir she conducts, a young man kills several choir members. Since this happened, nothing is as it was and a return to normality seems impossible.

In each performance the characters appear on stage with a different choir from the Munich area.

«Danton’s Death», written by the 22-year-old Georg Büchner in a mere five weeks in 1835 following extensive research, is based on historical sources and documents from the French Revolution, whose maxims of «liberty, equality and fraternity» shaped our understanding of modern European democracies. However, Büchner does not tell of the triumphant beginnings, the storming of the Bastille as part of a popular uprising that continues to be celebrated today, focusing instead on a few days towards the end of the Jacobins’ so-called reign of terror in the spring of 1794.

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.

«Danton’s Death», written by the 22-year-old Georg Büchner in a mere five weeks in 1835 following extensive research, is based on historical sources and documents from the French Revolution, whose maxims of «liberty, equality and fraternity» shaped our understanding of modern European democracies. However, Büchner does not tell of the triumphant beginnings, the storming of the Bastille as part of a popular uprising that continues to be celebrated today, focusing instead on a few days towards the end of the Jacobins’ so-called reign of terror in the spring of 1794.

«Once the social order has been consolidated, anyone who is not alarmed by reality is as free as they wish,» Jean Jourdheuil wrote about Labiche’s work. But in this play, that alarm is felt: Lenglumé begins to realise what he might be capable of and as a result – at least for a day – his self-assurance and satisfaction crumble.

No other play by Heinrich von Kleist inspires quite so many superlatives as «Käthchen of Heilbronn». It is not only the most successful, but also the most romantic, the most fairy tale-like and at the same time the most mysterious play that he wrote.

In her adaptation, the director Elsa-Sophie Jach has seized on the idea Goethe abandoned and transfers Goethe’s love-sick alter ego to the stage. «WERTHER. A Theatrical Folly» supplements Goethe’s shimmering, astonishingly modern rush of emotion with texts by one of his contemporaries: Karoline von Günderrode.

«Agnes Bernauer», first performed in the GDR in 1977, starts like a stop-motion fairy tale: after the death of her mother, Agnes is sent out to work by her bankrupt father. But she is unable to believe that she will find a profession that «gives her pleasure», and decides to marry money. Her rise in society happens quickly: Agnes becomes pregnant and takes Albrecht as a husband: a squeamish only child and mother’s boy who is pampered in the golden cage of the Werdenfels’ family business.

For the city of Munich, the 1972 Olympic Games are a giant step towards the future. How the Cold War was reflected in the «cheerful games» of 1972, why violence in the form of international terrorism came to the Olympic village despite all efforts to the contrary, and what consequences this continues to have today are investigated by the directing team of Regine Dura and Hans-Werner Kroesinger using eyewitness accounts, investigation files, newspaper articles and interviews with people who were there and saw what happened.

«Danton’s Death», written by the 22-year-old Georg Büchner in a mere five weeks in 1835 following extensive research, is based on historical sources and documents from the French Revolution, whose maxims of «liberty, equality and fraternity» shaped our understanding of modern European democracies. However, Büchner does not tell of the triumphant beginnings, the storming of the Bastille as part of a popular uprising that continues to be celebrated today, focusing instead on a few days towards the end of the Jacobins’ so-called reign of terror in the spring of 1794.

Claire Fletcher, the priest of a small town, becomes the witness and victim of an act that defies comprehension. During a rehearsal of the community choir she conducts, a young man kills several choir members. Since this happened, nothing is as it was and a return to normality seems impossible.

In each performance the characters appear on stage with a different choir from the Munich area.

Seven years after her production of «Oedipus», the Slovenian director Mateja Koležnik now brings the next instalment of the Theban myths to the Resi stage: both a political thriller and an epic family drama.

In «Archive of Tears» Magdalena Schrefel invents a commemorative space that preserves the most fleeting signs of human feelings – tears. This universal, human, salty secretion that leaks from the organs of our sight, the eyes, seems to combine the body and emotion, the mind and chemistry in an almost alchemical fashion: feelings – of movement, grief or joy – are translated into a physical language.

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.

Every Saturday you have the opportunity to discover the world behind the scenes at the Residenztheater.

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.

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.

In her trilogy Judith Herzberg uses subtle humour and a delicate hand to portray a Jewish extended family from Amsterdam between the 1970s and the turn of the millennium. It is a chronicle of emotions and complex relationships. In a cycle that spans three generations there are marriages, children are conceived, couples separate, fall in love with someone new – and get married again. To outsiders, members of the family and their friends appear to lead the same everyday lives as their contemporaries and when they meet at weddings or funerals, they talk, dance, fall in love and argue. But, quite casually and suddenly, glimpses of wounded souls appear behind this cheerful façade.

Rising sea levels, forests dying and even the two world wars were supposedly predicted by the woodland prophet Mühlhiasl, who apparently lived near Straubing during the 16^th century and went down in legends of the Bavarian forest as a local Nostradamus. The dramatist, filmmaker and poet Herbert Achternbusch makes use of this legend to write about a society that is determined to preserve prosperity by any means necessary: the entire village lives off the local manufacturers’ fame for making ruby glass – however the master glassmaker who just passed away took the recipe to the grave with him. The cowherd Hias, who is hastily summoned for help, confirms the clairvoyant faculties attributed to him by arriving before he has even been called for. Spurred on by his gloomy forecasts on one hand and the tyrannical glassworks owner Goldfinger on the other, the entire village ends up in turmoil and is soon prepared to sacrifice the peace of its soul for wealth.

For the city of Munich, the 1972 Olympic Games are a giant step towards the future. How the Cold War was reflected in the «cheerful games» of 1972, why violence in the form of international terrorism came to the Olympic village despite all efforts to the contrary, and what consequences this continues to have today are investigated by the directing team of Regine Dura and Hans-Werner Kroesinger using eyewitness accounts, investigation files, newspaper articles and interviews with people who were there and saw what happened.

«Once the social order has been consolidated, anyone who is not alarmed by reality is as free as they wish,» Jean Jourdheuil wrote about Labiche’s work. But in this play, that alarm is felt: Lenglumé begins to realise what he might be capable of and as a result – at least for a day – his self-assurance and satisfaction crumble.

Seven years after her production of «Oedipus», the Slovenian director Mateja Koležnik now brings the next instalment of the Theban myths to the Resi stage: both a political thriller and an epic family drama.

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.

In her adaptation, the director Elsa-Sophie Jach has seized on the idea Goethe abandoned and transfers Goethe’s love-sick alter ego to the stage. «WERTHER. A Theatrical Folly» supplements Goethe’s shimmering, astonishingly modern rush of emotion with texts by one of his contemporaries: Karoline von Günderrode.

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.

February 24, 2023 marks the first anniversary of the beginning of the Russian war of aggression on Ukraine. On this occasion, we invite you to the «World/Stage Salon No. 2» dedicated to the playwright and director Oleksandr Seredin from Kharkiv.

Every Saturday you have the opportunity to discover the world behind the scenes at the Residenztheater.

«Danton’s Death», written by the 22-year-old Georg Büchner in a mere five weeks in 1835 following extensive research, is based on historical sources and documents from the French Revolution, whose maxims of «liberty, equality and fraternity» shaped our understanding of modern European democracies. However, Büchner does not tell of the triumphant beginnings, the storming of the Bastille as part of a popular uprising that continues to be celebrated today, focusing instead on a few days towards the end of the Jacobins’ so-called reign of terror in the spring of 1794.

«Danton’s Death», written by the 22-year-old Georg Büchner in a mere five weeks in 1835 following extensive research, is based on historical sources and documents from the French Revolution, whose maxims of «liberty, equality and fraternity» shaped our understanding of modern European democracies. However, Büchner does not tell of the triumphant beginnings, the storming of the Bastille as part of a popular uprising that continues to be celebrated today, focusing instead on a few days towards the end of the Jacobins’ so-called reign of terror in the spring of 1794.

Twice a year we offer a training day for teachers. You want to get your students in the mood for the upcoming theater visit and are still looking for impulses for practical implementation? In the three-hour training course, we show you examples of how our plays can be taught in a simple and playful way.

In her adaptation, the director Elsa-Sophie Jach has seized on the idea Goethe abandoned and transfers Goethe’s love-sick alter ego to the stage. «WERTHER. A Theatrical Folly» supplements Goethe’s shimmering, astonishingly modern rush of emotion with texts by one of his contemporaries: Karoline von Günderrode.

Elisabeth Gärtner, a retired architect, has only one more wish: she wants to die. Her beloved husband died of cancer three years ago and without him life has no meaning for her any more. A drug that would allow her to die of her own volition has been refused her. Now the Ethics Council must make a decision on her case. Expert witnesses from the fields of law, medicine and theology argue over the question:  Does a human being have a right to determine their own death? Are doctors allowed to help someone commit suicide? And who do our lives actually belong to? To us? To the state? Or to God?