Die Wurzeln der Leute reichten bis zum Mittelpunkt der Erde

A loose stage adaptation of the classic by Alexandre Dumas, told as an interactive electropop musical experience, breaking the boundaries between stage and audience.

Momofuku TV employs CG animation to look back at the history of instant ramen and tell the story of how Momofuku Ando overcame great adversity to achieve inventions of worldwide importance. The program presents the six keywords that drove Momofuku’s creative thinking in a fun and easy to understand way.

YEARS OF PILGRIMAGE: Franz Liszt was a virtuoso pianist that took early nineteenth-century Europe by storm. He conquered the Parisian salons with passionate performances marked by excellent technique and handsome features that became the downfall of many women. But what was he truly after? The musical narrates the story of Liszt's early years, and his pilgrimage across Europe in an attempt to find a place where his soul could belong, focusing on the romance with the Countess Marie d'Agoult, and his greatest friend and rival, Chopin. FASHIONABLE EMPIRE: A revue that transforms the stage into the "Empire" where the pioneering fashionistas of our time gather. The stylish array of scenes will enchant the audience, at times with the cool atmosphere, and at times with the hot beats. While focusing on the sophisticated and metropolitan appeal of top star Yuzuka Rei this revue also shows off the unique, scintillating members of Flower Troupe through many groovy scenes.

A collaboration in which Robert Wilson and Heiner Müller let Molière die, imagine his death in tableaux with text passages recited by Müller himself. "Cinema watches Death at work." Wilson's actors watch Molière die: their vigil is hard work. Müller's comment: "The poem watches a dying man at work, his name is Molière. The poem is not a film. The film watches an actor playing a dying man called Molière."

Christiaan Hesen

hana –1970, Koza ga moeta hi–

Join us for a screening of Reza Abdoh’s extraordinary, site-specific work Father was a Peculiar Man, an adaptation of Dostoyevsky’s The Brothers Karamazov staged in New York City’s Meatpacking District in the summer of 1990. Produced by Anne Hamburger’s En Garde Arts, Father was a Peculiar Man showed how brilliantly Reza applied his specific site-based approach that he developed in Los Angeles to New York City’s urban infrastructure. One of the goals of En Garde Arts’s site-specific journeys through New York’s Meatpacking District was to use the local architecture as a theatrical set while at the same time evoking and playing with the history of the place. The half-deserted cobblestone streets south of Chelsea enhanced the play’s nineteenth-century references. The neighborhood’s past as both a meatpacking and transportation hub via the High Line trains as well as a former center for after-hours sex clubs merge as perfect background for Reza’s spectacular tableaus of gluttony and lust.

A surreal horror film following an obsessive actress who finds herself trapped within a cursed theatrical production where she is forced to choose between her career and her life.

A rustic comedy about a small-town bowling alley entrepreneur who learns that being scammed is not the end of the world.

This documentary short introduces us to the Caravan Stage Company, the world's only horse-drawn open-air theater. Every summer it tours British Columbia and Alberta, bringing live entertainment to communities where television is often the main diversion. In a montage of short sketches, the film shows the troupe on the road and in performance. Hard work and laughter are basic ingredients of this unconventional lifestyle.

When a script is unexpectedly switched, a dyslexic actor struggles to navigate his conservatory audition. Mixing the Greek myth of Chiron and the textures of off-off-Broadway theater, "All the Words on the Page " is an anxious tale about wrestling with an invisible disability.

Peer behind the curtain as a cast of neurodivergent teens prepare to come of age and hit the stage in their school’s time-travelling, John Farnham–themed musical.

An original, semi-modernized musical adaptation of Shakespeare's classic romance.

Victor, a disillusioned 60-something whose marriage is on the rocks, opts to relive the week of his life when, 40 years earlier, he met his true love through a company that allows customers to return to the time period of their choosing.

A humble Romanian actor in his 40's, hardly surviving between a complicated part in a musical, a depressed wife, and the obsession of an imminent, devastating earthquake, becomes the victim of his manipulative father.

When the opening night of a new play goes horribly awry, the actors are forced to frantically improvise the plot onstage. Clashing egos, tested friendships and a series of disastrous misunderstandings combine to create the most offensive, shocking and accidental piece of theater ever to debut in front of a live audience.

Le mari ne compte pas

La Flambée

Quotations From a Ruined City was first performed as a workshop production for the Los Angeles Festival in a former shoe store on Hollywood Boulevard. The production subsequently moved to a vacant pajama factory in New York's meatpacking district and went on to be presented by multiple European presenters. It was Abdoh's final work. "Quotations from a Ruined City is a sort of apocalyptic follies: an evening of song, dance, poetry, nudity and torture set in a world whose center has clearly long ceased to hold. Created and directed by the gifted young theatrical cult artist Reza Abdoh, the work is a kaleidoscopic catalogue of images of decay and destruction that range through the centuries and around the globe."--New York Times, 1994.

"Minamata is the name of a fishing village in Japan," said the writer-director ("Peep Show," "Eva Peron," "Rusty Sat on a Hill One Dawn and Watched the Moon Go Down"), who wrote the piece with Mira-Lani Oglesby. "Chisso, a company that makes parts for plastic, dumped mercury waste into the water supply and the fishermen got sick. A high percentage of the villages depended on fish and fishing so their livelihoods dried up too. "The story of Minamata is just the departure point for the play," the writer said. "It's the ghost behind the play, the shadow over it. The piece is a meditation on beliefs, ways of thinking, how operatives in the system create a way of thinking that makes it possible to destroy life in order to improve it. There's a thesis that in order to progress you have to allow for destruction. No. You cannot buy into that way of thinking, because it's erroneous and hurtful."