02
Th 20:00
Die Zauberflöte

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The actor and musician Nils Strunk creates a joyful, musical reflection on the magic of the stage and the power of togetherness with author Lukas Schrenk, a three-piece band and the ensemble. Mozart and Schikaneder would have turned in their graves.
(c) Burgtheater
In his drama ORPHEUS RISES DOWN, Williams shows the destructive mechanisms of a society characterized by xenophobia in a place in the southern states of the USA in the 1950s - and in doing so tells a story that continues to play out in a similar form everywhere repeated at all times.
The place is extremely remote. A desert, deserted island where ships sometimes get stranded. With Sycorax on board, for example, who had been persecuted as a "witch" and expelled from Algiers, and her son Caliban. Or with Prospero, whom his brother Antonio overthrew and abandoned as Duke of Milan, with his daughter Miranda. Finally, Antonio himself, who accompanies the king of Naples to Africa to his daughter's wedding and, on the journey home with his court, got caught in the eponymous storm
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NOSFERATU is Australian director Adena Jacobs' second work at the Burgtheater after DIE TROERINNEN. Powerful and poetic, it is dedicated to the intangible fear that manifests itself in Nosferatu then and now.
Jonathan Spector's tragic comedy, which was created in 2018, takes all the irreconcilability of recent years to the extreme and makes the pressing questions behind it visible: What do we mean by democracy? How do we want to make decisions? What opportunities for involvement and participation should there be? Are the interests of the community limited by individual freedom? Or rather vice versa?
bodies, all words. More, more and more. More money, more sex. More pain, more pleasure, more forgetting. Standstill is death. This is us. And Faust is one of us. After generations of readers praised him as the energetic Titan who casts off the shackles of faith, tradition and nature and at the same time takes the world into his own hands with his destiny, we now recognize that Faust has lost his way - and we with him .
“The empty promises of progress were nothing but spit in the faces of martyrs of all generations. If time is just a form of perception, or a category of reason, then the past is as present as the present. Cain continues to murder Abel. Still Nebuchadnezzar slaughters Zedekiah's sons and gouges out Zedekiah's eyes. The Kesheniev pogrom never ends. Jews are constantly being burned in Auschwitz. Those who do not have the courage to end their existence have only one way out: to kill their consciousness, to paralyze their memory, to erase the last trace of hope.” (Isaac B. Singer)
The actor and musician Nils Strunk creates a joyful, musical reflection on the magic of the stage and the power of togetherness with author Lukas Schrenk, a three-piece band and the ensemble. Mozart and Schikaneder would have turned in their graves.
“The empty promises of progress were nothing but spit in the faces of martyrs of all generations. If time is just a form of perception, or a category of reason, then the past is as present as the present. Cain continues to murder Abel. Still Nebuchadnezzar slaughters Zedekiah's sons and gouges out Zedekiah's eyes. The Kesheniev pogrom never ends. Jews are constantly being burned in Auschwitz. Those who do not have the courage to end their existence have only one way out: to kill their consciousness, to paralyze their memory, to erase the last trace of hope.” (Isaac B. Singer)
Following Klaus Mann's MEPHISTO, Bastian Kraft now brings a major work by his father Thomas to the stage of the Burgtheater with a concentrated cast.
The director is at his wit's end. In less than 24 hours the theatrical premiere of the comedy NAKED FACTS will take place and the ensemble fails. Or have the actors and actresses conspired against him? Well, the rehearsal time was short for this door-to-door-to-door dance of coincidences, mix-ups, coincidences, it's about tax evasion, real estate deals, quickies and family reunification, in short: a potpourri of human passions.
“The empty promises of progress were nothing but spit in the faces of martyrs of all generations. If time is just a form of perception, or a category of reason, then the past is as present as the present. Cain continues to murder Abel. Still Nebuchadnezzar slaughters Zedekiah's sons and gouges out Zedekiah's eyes. The Kesheniev pogrom never ends. Jews are constantly being burned in Auschwitz. Those who do not have the courage to end their existence have only one way out: to kill their consciousness, to paralyze their memory, to erase the last trace of hope.” (Isaac B. Singer)
Violence as a political tool is back in popularity. “Whoever prevents me from defending myself kills me as well as if he attacked me,” says Robespierre. “Where self-defense ends, murder begins,” says Danton. What should happen next with the French Revolution almost four years after the storming of the Bastille? Should it be transformed into a republic that gives people all the freedom to live their lives, be happy or starve? Or must the revolution continue as a dictatorship until social equality is finally achieved, even if the reign of terror still claims many lives by then?
(c) Burgtheater
In his drama ORPHEUS RISES DOWN, Williams shows the destructive mechanisms of a society characterized by xenophobia in a place in the southern states of the USA in the 1950s - and in doing so tells a story that continues to play out in a similar form everywhere repeated at all times.
“The empty promises of progress were nothing but spit in the faces of martyrs of all generations. If time is just a form of perception, or a category of reason, then the past is as present as the present. Cain continues to murder Abel. Still Nebuchadnezzar slaughters Zedekiah's sons and gouges out Zedekiah's eyes. The Kesheniev pogrom never ends. Jews are constantly being burned in Auschwitz. Those who do not have the courage to end their existence have only one way out: to kill their consciousness, to paralyze their memory, to erase the last trace of hope.” (Isaac B. Singer)
Alceste despises the society around him for their hypocrisy and superficiality. His ideal is unconditional sincerity and truthfulness. He fanatically tries to convert those around him. Alceste's refusal to adapt to society's rules and behave diplomatically leads to bitter experiences. Since he does not praise the poet Oronte, but rather radically criticizes him, he makes an enemy of him. Alceste loses the trial brought by Oronte because he refuses to bribe the judges. He ignores the well-intentioned advice of his loyal friend Philinte.
Herbert Fritsch approaches this community of the dead cautiously, full of tenderness. He doesn't want to talk about the dead anecdotally, but - who would have thought - funny.
MARIA STUART is a political thriller, a historical exaggeration, a passionate examination of the questions that plagued Schiller throughout his life: What is freedom? How does politics work? And how can theater immunize against the deadly virus of power?
Inès, Estelle and Garcin only have guesses as to why they ended up in this hell together: an interior space without windows and mirrors. Walled in as high as a tower, only occasionally visited by a quirky waiter. an outside? Doesn't exist here. Even the eyelids are paralyzed; the place threatens to be awake all the time, without the redeeming "black flashes" of blinking. Why were these three people, who never met in life, crammed together here? What guilt brought her here? Are they already holding the torture instruments for the others without knowing it?
bodies, all words. More, more and more. More money, more sex. More pain, more pleasure, more forgetting. Standstill is death. This is us. And Faust is one of us. After generations of readers praised him as the energetic Titan who casts off the shackles of faith, tradition and nature and at the same time takes the world into his own hands with his destiny, we now recognize that Faust has lost his way - and we with him .
Herbert Fritsch approaches this community of the dead cautiously, full of tenderness. He doesn't want to talk about the dead anecdotally, but - who would have thought - funny.