Together with INSTED we were invited to the Körber Studio Junge Regie 2008 in Hamburg, Germany’s annual symposium for young directors. We lived in a place just of the Reeperbahn (probably the most decadent street in Europe), but even so nightlife was eclipsed by a full on schedule that seemed devised to test even the toughest theatre junkie. 

The regular programme:  show for breakfast, four hour afternoon debate about the previous shows, supper (this was invariably soup), first play of the evening followed by an audience discussion, second play of the evening followed by an audience discussion, then a ‘party’ (which was another play, only this time you were allowed to bring in a glass of wine). 

So, this was the ‘basic programme’ around which were scheduled a series of special events, shows, talks and debates, including a lecture with postdramatic theatre gurus Hans Thies Lehmann and Heiner Goebbels.

By the end of six days we had seen nineteen shows. You can read the previous sentence again if you like.

Being invited to the Körber Studio Junge Regie in Hamburg is equivalent to being waved onto a roller-coaster escapade through the current trends of contemporary German theatre. It would be an interesting sociological experiment to force Charles Spencer through the experience. My guess is that he’d explode in a fit of indignation. 

With neat regularity Spencer accuses people like Katie Mitchell of ‘smashing up the classics’, taking ‘outrageous liberties’ and ‘not serving the intentions of the dead playwright’ (actual quotes!!!) On evidence of Körber Studio 2008 faithfully reconstructing classics is certainly not what German theatre is about. It dismantles them, reconfigures them into new constellations, probes them for contemporary relevance or exposes ideological clashes with current thinking. The productions we saw of Woyzek, Hamlet, Hedda Gabler and Elektra were not attempts at reconstructing Büchner, Shakespeare, Ibsen or Hoffmansthal but rethinking them and their themes from a 21^st century standpoint. A central figure at the core of German (and most European) theatre is the ‘dramaturge’. When the term crops up it in Britain it is usually in reference to someone who acts as a kind of script supervisor on new writing. But on the continent dramaturges work on classic plays, they research previous drafts, influences etc. and then, together with the director, determine the structure and strategy for a new production (in Britain we’d say adaptation) of it. The constant accompaniment of the dramaturge and the resulting intellectual rigour in theatrical debates was one of the first striking features of our visit to Hamburg.

The other one (really not wanting to be stereotypical, but hey) was that German tea is a fucking disgrace. You get presented with a glass (!) of warm water into which you are expected to dunk a tea bag. And when Oystein asked for tea with milk the guy behind the bar (after an initial period of confusion) held it under the coffee machine and filled it up with frothy milk. 

A rather novel aspect of the festival was that it was accompanied by students of criticism (in Germany you study to become a critic) as well as the students of directing, dramaturgy and acting. The critics joined the directors’ internal discussions and debates on the shows we had seen and then read out and discussed their reviews with the artistic teams under discussion present. This meant that the practitioners had an opportunity to give direct feedback to the critics and vice versa. It was a great idea to bring these two stereotypically polarised fronts together and engage in mutual debate.

Christa Müller, a dramaturge at the Thalia showed us around the Thalia Theater which made us green with envy: two rehearsal stages which are exact replicas of the main stage (minus the auditorium) a firmly employed ensemble of actors on a regular salary and a current repertoire of fifty three (!!!) plays! 

Our stay in Hamburg was really inspiring and we met some great people – we thank the Thalia Theater, the Körber Stiftung and INSTED for inviting us, and we hope to return to Germany again soon (maybe next time with a production…) Next week we’ll be back in London.

Read more on: 

http://www.insted.eu 

http://www.thalia-theater.de

http://www.koerber-stiftung.de/foerderung/foerderung_junger_kuenstler/studio_junge_regie/index.html

http://www.implodingfictions.com 

or see some more photos from our trip on 

http://www.facbook.com/photo.php?pid=481820&l=eee5e&id=603357604

- Philip

Productions may no longer include:

Sand

Bubble Fluid

Real Mobile Telephones

Fake Blood

Cliff diving

Actors

Oystein will learn how to:

Sew

Iron

Speak German

Pip will learn how to:

Speak Norwegian

Get a good friend in the Arts Council

Balance a lawn mower on his chin

Miscellaneous:

We will not use Bable Fish for translations.

We will learn some Italian basics.

We will not piss off rights holders.

We will not piss off producers.

We will not piss off priests, muezzins or rabbis. 

We will be more gracious with our opponents (what d’ya think Sammy?)

We will design a set which is a giant chocolate fountain

We will complete a full length version of our show “Now You See It; Now You Don’t”

Note: Resolutions are made to be broken.

Best wishes,

Øystein and Philip