There are those people to whom, when they speak, we could listen forever—almost no matter what they say; it somehow touches us and sweeps us along. And then there are others whom we can’t follow; sitting in the theatre, we grow restless or can’t quite manage to absorb what they’re declaiming. Why is this so?
“It’s the source of my energy and existence—I wouldn’t ever want to do anything else, not even if I had a thousand options to choose from.” When Ira Süssenbach talks about her work as a stage director, her love of theatre is downright palpable. This fourth-year stage directing student at the Max Reinhardt Seminar spoke with mdw Magazine about her diploma production and how her professional experience in the financial industry is now yielding rewards in her work as an artist.
At the 2022 Reichenau Festival, Christian Berkel will make his debut as a stage director with a production of Frühlings Erwachen (Spring Awakening) involving Max Reinhardt Seminar students. A conversation on the existential life crisis of puberty, broken homes, and the power of theatre.
After 256 years, the time had finally come: on 1 September 2021, a sold-out Schlosstheater Schönbrunn witnessed the official première of La Corona at the venue for which it had originally been composed.
“EINSITZEN – Conversations about Setting and Reflecting upon Contemporary Dramaturgies and their Residues” is an open discussion format, subject to the whims of the moment, that is organised as part of the mdw’s MAS programme Applied Dramaturgy in Music and Performing Arts. At irregular intervals, this series will bring before the microphone guests who hail from theatre, the fine arts, literature, philosophy, music, and other realms of life.
He does ask himself whether his story will really be of that much interest, says Enzo Brumm right at the beginning of our conversation. 25-year-old Brumm is an acting student in his fourth and final year of study at the Max Reinhardt seminar. As a teenager, he was in the youth club at the Ernst Deutsch-Theater in Hamburg, and he’s now returning there for a production—as a full-fledged actor in a production of Don Carlos.
During the past academic year, two productions at the Max Reinhardt Seminar—both of which had to be premièred without a live audience—were devoted to works by Thomas Bernhard and Gert Jonke, respectively.
Stage director Wojtek Klemm has joined forces with third-year acting students of the Max Reinhardt Seminar to develop a play about showbusiness itself. Killing of Silent Hopes casts its gaze on the trials and tribulations of life as an actor/actress.