On the occasion of the centenary of her death the Petit Palais in Paris pays homage to Sarah Bernhardt (1844-1923) with an exceptional exhibition, bringing together more than 400 items, including paintings, stage costumes, posters, photographs, film excerpts and personal belongings.
Ein Volksfeind is one of the showpieces of Thomas Ostermeier and the Schaubühne Berlin. It premiered in 2012 and has been part of the repertoire ever since. It is also frequently shown on tour. I was glad I finally had a chance to see it.
At more than five hours Thomas Ostermeier's stage adaptation of Vernon Subutex 1 by Virginie Despentes is quite long, but it doesn't feel like it.
It was funny, moving, interesting and inspiring and then it was all over. I wish I could replay it. I wish I remembered more of what I'd seen and heard.
This may well be some of the best advice to beginning artists and designers. I wish someone had told me...
Some scenes in "I Demoni", Peter Stein's adaptation of Dostoyevsky's novel "The Demons", are magnificent, but overall I was underwhelmed.
"Rechnitz (der Würgeengel)" by Elfriede Jelinek is about the power of language to distort and to obfuscate. It is about people who hide behind an excess of words.
Dialoge 09 Neues Museum by Sasha Waltz and Guests is a real gem.
A common trend in the performing arts of the past 10 to 15 years is the omission of the interval.
The stage adaptation of "Die Ehe der Maria Braun" shows that Thomas Ostermeier is one of today's most interesting directors.
I am one of the lucky few to snatch a ticket for Peter Stein's 12-hour production of Dostoyevsky's The Demons. The ticket price gives an interesting insight into the economics of the performing arts.
A Hamlet for the 21st century.