Kammerspiele Vienna - Schedule, Program & Tickets

Kammerspiele

Herbert Föttinger has the more than 100 years old Kammerspiele since 2006 positioned as a contemporary city comedy, are listed on the predominantly modern authors discuss the socially relevant topics with humor, irony and lightness. An unbroken crowd magent are the Kammerspiele in Vienna's city center. The chic Stage aesthetics matches the vibrant life of the City. Crowd favorites and stars from TV, cabaret and film you can join live in intimate, in the experience 440 seats prehensive Theater.
07
Th 19:30
The Parisian Woman

- Not available -

© Theater in der Josefstadt
Deutschsprachige Erstaufführung
ca. 1 Stunde, 40 Minuten, keine Pause
In der Übersetzung von Michael Walter / Inspiriert durch Henri Becques "La Parisienne"
...
© Kammerspiele
You can't rely on the rags in the shops.
The groom

In this early work, Bertolt Brecht humorously describes how a wedding celebration gets completely out of control - and reveals himself to be an admirer of Karl Valentin.
© Kammerspiele
You can't rely on the rags in the shops.
The groom

In this early work, Bertolt Brecht humorously describes how a wedding celebration gets completely out of control - and reveals himself to be an admirer of Karl Valentin.
Based on the film "Un profil pour deux" by Stéphane Robelin
There was such blissful peace here,
a peace of God,
you just have
to earning
thought, and
now comes on
once one
therefore with
eight thousend
dead -
There was such blissful peace here,
a peace of God,
you just have
to earning
thought, and
now comes on
once one
therefore with
eight thousend
dead -
There was such blissful peace here,
a peace of God,
you just have
to earning
thought, and
now comes on
once one
therefore with
eight thousend
dead -
I want to die a decent human being, the way I lived.
Richard Gaertner
© Kammerspiele
Wenn es Musik ist, was die Liebe nährt, spielt weiter, immer weiter, bis zum Exzess, bis mein Verlangen nachläßt, meine Sehnsucht stirbt. Diese schmerzende Melodie noch einmal. Sie klingt nach Tod. Sie duftet giftig-süß nach Veilchen und raubt mir doch den Atem. Ach Liebe, du reißt mich in die Tiefe wie in einen Ozean.
Orsino
...
© Kammerspiele
Wenn es Musik ist, was die Liebe nährt, spielt weiter, immer weiter, bis zum Exzess, bis mein Verlangen nachläßt, meine Sehnsucht stirbt. Diese schmerzende Melodie noch einmal. Sie klingt nach Tod. Sie duftet giftig-süß nach Veilchen und raubt mir doch den Atem. Ach Liebe, du reißt mich in die Tiefe wie in einen Ozean.
Orsino
...
There was such blissful peace here,
a peace of God,
you just have
to earning
thought, and
now comes on
once one
therefore with
eight thousend
dead -
(C) Kammerspiele Wien
Die Männer, die heute die Menschlichkeit mit Füßen treten, werden nicht immer da sein. Ihre Grausamkeit stirbt mit ihnen und auch ihr Hass.
Der jüdische Barbier
© Kammerspiele Wien
The fact that laughing at grievances can be liberating without leading to reality-displacing cheerfulness is due to the high quality of Heinrich von Kleist's classic comedy. Even if the comedy had its world premiere more than 200 years ago, the facts dealt with in it seem almost timeless: Here a person tries with vehement audacity to secure his position of power. The truth becomes irrelevant.
There was such blissful peace here,
a peace of God,
you just have
to earning
thought, and
now comes on
once one
therefore with
eight thousend
dead -
I want to die a decent human being, the way I lived.
Richard Gaertner
I want to die a decent human being, the way I lived.
Richard Gaertner
© Kammerspiele Wien
The fact that laughing at grievances can be liberating without leading to reality-displacing cheerfulness is due to the high quality of Heinrich von Kleist's classic comedy. Even if the comedy had its world premiere more than 200 years ago, the facts dealt with in it seem almost timeless: Here a person tries with vehement audacity to secure his position of power. The truth becomes irrelevant.
© Kammerspiele Wien
The fact that laughing at grievances can be liberating without leading to reality-displacing cheerfulness is due to the high quality of Heinrich von Kleist's classic comedy. Even if the comedy had its world premiere more than 200 years ago, the facts dealt with in it seem almost timeless: Here a person tries with vehement audacity to secure his position of power. The truth becomes irrelevant.
© Kammerspiele Wien
The fact that laughing at grievances can be liberating without leading to reality-displacing cheerfulness is due to the high quality of Heinrich von Kleist's classic comedy. Even if the comedy had its world premiere more than 200 years ago, the facts dealt with in it seem almost timeless: Here a person tries with vehement audacity to secure his position of power. The truth becomes irrelevant.
© Kammerspiele Wien
The fact that laughing at grievances can be liberating without leading to reality-displacing cheerfulness is due to the high quality of Heinrich von Kleist's classic comedy. Even if the comedy had its world premiere more than 200 years ago, the facts dealt with in it seem almost timeless: Here a person tries with vehement audacity to secure his position of power. The truth becomes irrelevant.
© Kammerspiele Wien
The fact that laughing at grievances can be liberating without leading to reality-displacing cheerfulness is due to the high quality of Heinrich von Kleist's classic comedy. Even if the comedy had its world premiere more than 200 years ago, the facts dealt with in it seem almost timeless: Here a person tries with vehement audacity to secure his position of power. The truth becomes irrelevant.
© Kammerspiele Wien
The fact that laughing at grievances can be liberating without leading to reality-displacing cheerfulness is due to the high quality of Heinrich von Kleist's classic comedy. Even if the comedy had its world premiere more than 200 years ago, the facts dealt with in it seem almost timeless: Here a person tries with vehement audacity to secure his position of power. The truth becomes irrelevant.