Burgtheater Vienna – Schedule, Program & Tickets

Burgtheater

After the Comédie Francaise, the Burgtheater in Vienna is Europe’s second-oldest theatre. Today, the Burgtheater, originally known as the K. K. Hoftheater nächst der Burg, complete with its three affiliated venues – the Akademietheater, Kasino and Vestibül – and a permanent ensemble of more than 80 actors and actresses, is one of Europe’s largest theatres and plays a seminal role in the German-speaking theatrical world. Every season, the Burgtheater and its affiliated venues welcome approximately 400,000 theatre-goers to some 800 performances.
19
Fr 19:30
Zentralfriedhof

- Not available -

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.
“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)
(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.
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.
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.
Copyright Reinhard Werner/Burgtheater
The night begins when a father threatens to kill his daughter. This drives two lovers into the Athenian forest, where they are bewitched by gender-indecipherable elves, so that each loves another. Craftsmen are also out in the forest to rehearse a tragedy involving a lion that is not to be feared. And the royal couple of the elves quarrel over an Indian boy and cause the rivers to overflow their banks...
“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)
In THREE WINTERS, author Tena Štivičić tells a compelling family epic through the lens of three historic moments in Croatian history. Every private action is political - and politics shapes personal decisions and destinies.
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.
“Each person is a whole city full of people. There are a thousand different versions of ourselves living within us, and they cannot all be equally important. We decide which ones define us. You have the medicine. I have God. One thing – one single thing – is the highest thing for us.”
(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.
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?