(Daniel Berg’s article appeared in Exberliner, 11/12.)
For over half a century, the work of German writer Hans Fallada languished in relative obscurity outside his native country after his untimely death in 1947. But his last and most famous work has recently been rediscovered by the international literary community, garnering critical recognition and acclaim worldwide.
Jeder stirbt für sich allein (Every Man Dies Alone) is an evocative portrayal of a working-class couple’s passive struggle against the brutal inhumanity of the Third Reich through the printing of political postcards. Under the direction of Hanau native Jorinde Dröse, the Maxim Gorki Theater is presenting the first contemporary stage
(Read more)
http://www.exberliner.com/articles/poscards-of-resistance
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MICHAEL COVENEY ON IMMERSIVE THEATRE
(Coveney’s article appeared in Prospect Magazine, 8/19/10; via Michael Billington’s article on Experimental Theatre in the Guardian, 1/10: http://www.guardian.co.uk/stage/2012/jan/10/e-for-experiment-modern-drama. Jerzy Grotowski interview is in Polish: press cc on the bottom YouTube toolbar for English translation.)
Not long ago, the audience in a theatre was there to watch a play. Nowadays, the audience is the play, or at least the protagonist in a production that is animated by the paying customer.
Recently I visited an abandoned electricity board building in Bethnal Green, east London, signing away my possessions and jacket on the door. My loafers were gaffer-taped to my socks; I was placed in a wheelchair; pushed through swing doors; and berated about the bad form of an American football team. Two seconds later, I was in a locker room, delivering a pep talk while 15 hunks glowered at me through facepaint and helmet guards.
(Read more)
http://www.prospectmagazine.co.uk/2010/08/you-me-bum-bum-train-one-on-one-theatre/
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