eventsTODAY - Wort@Loft - »Him Anflang war das Wort« - Ernst-Jandl-Abend on 2/11/2025 in Nürnberg

Parties, Concerts, Theater & Comedy, Culture, Sports and much more.

Hallo, ich bin Maya.
Wie kann ich helfen?

International and Multilingual!

Discover events, locations, and artists in German, English, Spanish, French, and Turkish.
Now available in Germany (eventsTODAY.de), Austria (eventsTODAY.at), Switzerland (eventsTODAY.ch), and Spain (eventsTODAY.es)!
Our AI-powered automatic translation ensures you get all information in your preferred language. Got an event? Submit it and take advantage of automatic translation to reach an international audience.
Whether it's a concert, exhibition, or party – you're in the right place!

Wort@Loft - »Him Anflang war das Wort« - Ernst-Jandl-Abend

Tuesday, 2/11/2025 at 8:00 PM

Wort@Loft - »Him Anflang war das Wort« - Ernst-Jandl-Abend

Tuesday, 2/11/2025
at 8:00 PM

More on 2/11/2025

Theaterkneipe LOFT
Austraße 70
90429 Nürnberg

More in Nürnberg

The following text was automatically translated.
Show original Show translation

Reading with music on the 25th anniversary of Ernst Jandl's death

Ernst Jandl (1925–2000) was an Austrian poet who radically renewed traditional poetry with his innovative language experiments. His poems put the sound and structure of language at the center. Jandl masterfully played with sounds, words, and syllables to create new, surprising meanings. Works such as "schtzngrmm" or "ottos mops" show how he reduces language to its elemental building blocks and rearranges them to achieve unusual poetic effects.
Often humorous and sometimes absurd, his texts open up deeper insights into the functioning of language. By consciously breaking grammatical and syntactic norms, Jandl creates a poetic form that is both playful and intellectually demanding. Despite their experimental nature, his poems are never meaningless: they reflect societal themes such as war, power structures, and the alienation of modern man.
In this musical reading of Ernst Jandl's poems, the recitations by Manuel Karadeniz and the virtuosic accordion sounds of Daniel Zacher intertwine to create a finely tuned interplay. In Daniel Zacher's original compositions, musical sophistication and emotional depth blend into an intense sound experience. His accordion sounds add an extra dimension to the texts and reinforce the emotional impact of Manuel Karadeniz's linguistic performances.

Event data provided by: Reservix

That might also be interesting

Kneipenquiz@Loft

Lukas Hofmann, known from the leadership team of the Red Gallery and board member of the Karl-Bröger Society, has been a long-time pub quiz participant. For a year now, he has been hosting pub quiz evenings every 3 months, and we are excited that he is now supporting our theater with this format!
A team consists of up to 6 participants. For 8 rounds, 5 questions will be asked on a category. No phones are allowed during the rounds. The participation fee is 2 euros per player. The 1st place receives 2/3 of the total participation fees, and the 2nd place receives 1/3. And the second to last place gets a consolation prize :-)

Free admission!

Nürnberg

1/18/2025
8:00 PM

Wort@Loft - »Um jeden Preis« - Bernd Blaschke und Maximilian Ferreira Cress

The format for literature, readings, radio plays, talks, etc...
The third Tuesday of the month is entirely dedicated to literature!

Bernd Blaschke and Maximilian Ferreira Cress will read from their novel "Um jeden Preis." An exciting and highly relevant political thriller that shockingly aligns with reality.

It is a disturbing suspicion that a colleague presents to the young journalist Michelle: his investigations into a death indicate that there is a far-right network within the Hamburg police. He asks Michelle for help, but she is skeptical and has other things on her mind: she is newly engaged and supposed to write a book about the most influential women in Germany – a dream project. Then Hamza is shot, and Michelle is deeply shaken. What if he was right? She begins to investigate and soon uncovers clues that call into question everything on which she has built her flawless life...

Maximilian Ferreira Cress is an author, director, and journalist. The recurring theme in his work is structures, such as the nature of the police in Germany, Kosovo as a forcibly imposed state, or the life of the Kurds in Iraq. He studied psycholinguistics, is married, and has two children.

Bernd Blaschke, raised in Nuremberg, is a screenwriter and dramaturge. After training as a theater director, he worked for several years in various roles in film and television before becoming a screenwriter and head writer. For many years, he has worked as a lecturer at different universities in dramaturgy, creative writing, and storytelling for video games.

Nürnberg

1/21/2025
8:00 PM

Leichenschmaus 12.30 - Andreas Thamm

»When there is a funeral, the family comes together. That's just how it is.«
The young man returns from the big city to the province because Uncle Walther is being laid to rest. And afterwards, there will be food. Daniel moved to Berlin a few years ago to become an actor. So far, he has only landed a commercial for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the married-in Nazi uncle, Franz, the conspiracy-theory-driven friend of the deceased, cousin Sabine, who is lustfully pursuing Daniel, and his own mother, who bears the entire burden of this embarrassment parade on her shoulders. They have forgotten the grandmother. Instead, an unknown wheelchair user appears, whose presence is a painful reminder for Walther's wife Inge.
»Leichenschmaus 12.30« is a text that uses the social occasion like a laboratory experiment, where the question is repeatedly negotiated about which person at the table is actually the most ridiculous. A piece that taps into discomfort in anyone who has family and, therefore, consciously opens spaces for improvisation for the performers.

SOLD OUT - Possible remaining tickets at the box office

Nürnberg

1/23/2025
8:00 PM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

1/24/2025
8:00 PM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

1/25/2025
8:00 PM

Fiebriges Verlangen

In the shady alleys of Gostenhof stands a clinic, whose corridors are filled not only with viruses, plagues, and bacteria, but also with destinies, longings, and the ultra-resistant germ of passion. Romances and hidden secrets make hearts beat faster, while the staff battles against their own inner demons. In the 4th season of the Gostner soap opera "Feverish Desire," gripping stories, dark machinations, and surprising twists are guaranteed.

Nürnberg

1/28/2025
8:00 PM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

1/29/2025
8:00 PM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

1/30/2025
8:00 PM

Gostner Deep Dive: Leichenschmaus 12.30

Daniel returns from the big city to the province because Uncle Walther is being buried. And afterwards, there will be food.

“Leichenschmaus 12.30” is a text that uses the social occasion like a laboratory experiment, where the question of who at the table is actually the most ridiculous is negotiated repeatedly. A piece that taps into a discomfort in everyone who has family and therefore consciously opens spaces for improvisation for the performers.

The “Gostner Deep Dive” invites an in-depth engagement with the respective play. The introduction before the performance provides insights into the conceptual backgrounds of the production. The subsequent discussion allows for dialogue and exchange with those involved in the production.

Registration through the BZ Nürnberg: https://bz.nuernberg.de/programm/gesellschaft-und-kultur/theater-und-theater-spielen/theater-aktuell/gostner-deep-dive-theaterbesuch-mit-einfuehrung-32007-20242

Registration through the Bildungszentrum Nürnberg

Nürnberg

1/30/2025
7:00 PM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

1/31/2025
8:00 PM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

2/1/2025
8:00 PM

Gostners SuppKultur - #28: Restlicht

Loose texts, prose miniatures, melancholic introspection, and detailed nature writing: SuppKultur brings Nuremberg's last Prague scholarship holder Anna Hofmann to the loft, where she prepares an evening together with the Bamberg duo Pantone. Anna Hofmann studied photography at the AdbK with Jürgen Teller before moving to the Leipzig Literary Institute. For SuppKultur, she recently created the evening "Speaking about Writing" together with Mina Reischer. She has published texts in various anthologies and magazines and is working on her first novel – for SuppKultur, she brings the smaller formats that resonate in a special way with the music of the duo Pantone on stage. Dominik Schramm and Justus Böhm met at the Salzburg Mozarteum. Since then, they have formed an unusual duo with guitar and double bass, playing jazz infused with world music and classical elements. The complex music and the thoughtful and emotional texts will find each other on stage, creating an intimate, undoubtedly somewhat melancholic program with three special artists from our region.

Suppkultur (Stephan Goldbach, musician, and Andreas Thamm, author) brings text, music, and soup to the loft. Monthly, Thamm, Goldbach, and their guests negotiate the silliest and the big themes of our time, always conceptually thought out, almost with ambition, and always surprising, never the same.

Nürnberg

2/4/2025
8:00 PM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

2/5/2025
8:00 PM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

2/6/2025
8:00 PM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

2/7/2025
8:00 PM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

2/8/2025
8:00 PM

Wort@Loft - »Him Anflang war das Wort« - Ernst-Jandl-Abend

Reading with music on the 25th anniversary of Ernst Jandl's death

Ernst Jandl (1925–2000) was an Austrian poet who radically renewed traditional poetry with his innovative language experiments. His poems put the sound and structure of language at the center. Jandl masterfully played with sounds, words, and syllables to create new, surprising meanings. Works such as "schtzngrmm" or "ottos mops" show how he reduces language to its elemental building blocks and rearranges them to achieve unusual poetic effects.
Often humorous and sometimes absurd, his texts open up deeper insights into the functioning of language. By consciously breaking grammatical and syntactic norms, Jandl creates a poetic form that is both playful and intellectually demanding. Despite their experimental nature, his poems are never meaningless: they reflect societal themes such as war, power structures, and the alienation of modern man.
In this musical reading of Ernst Jandl's poems, the recitations by Manuel Karadeniz and the virtuosic accordion sounds of Daniel Zacher intertwine to create a finely tuned interplay. In Daniel Zacher's original compositions, musical sophistication and emotional depth blend into an intense sound experience. His accordion sounds add an extra dimension to the texts and reinforce the emotional impact of Manuel Karadeniz's linguistic performances.

Nürnberg

2/11/2025
8:00 PM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

2/12/2025
8:00 PM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

2/13/2025
10:00 AM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

2/13/2025
8:00 PM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

2/14/2025
8:00 PM

Leichenschmaus 12.30 - Andreas Thamm

"If there's a funeral, the family comes together. That's just the way things are." The young man is returning from the big city to the province because Uncle Walther is being laid to rest. And afterwards, they feast. Daniel moved to Berlin a few years ago to become an actor, but so far, he's only managed to score an ad for a bladder medication. Now he sits slightly stoned in the Hirschen. With Gotthold, the Nazi uncle by marriage, Franz, the conspiratorially motivated friend of the deceased, Cousin Sabine, who lustfully pursues Daniel, his own mother, who bears the whole burden of this embarrassment parade on her shoulders. They forgot about grandma. Instead, an unknown wheelchair-bound woman shows up, whose presence is a painful memory for Walther's wife, Inge.
"Leichenschmaus 12.30" is a text that uses the social occasion like a laboratory experiment, constantly asking which person at the table is actually the most ridiculous. A play that taps into an uneasiness in every person who has a family, intentionally opening spaces of improvisation for the actors.

Nürnberg

2/15/2025
8:00 PM

Fiebriges Verlangen

In the shady alleys of Gostenhof stands a clinic, whose corridors are filled not only with viruses, plagues, and bacteria, but also with destinies, longings, and the ultra-resistant germ of passion. Romances and hidden secrets make hearts beat faster, while the staff battles against their own inner demons. In the 4th season of the Gostner soap opera "Feverish Desire," gripping stories, dark machinations, and surprising twists are guaranteed.

Nürnberg

2/18/2025
8:00 PM

Väter (Hennermanns Horde)

Ist Vaterschaft ein Modell, ein Wunsch, eine Erinnerung oder einfach Realität? Während im gesellschaftlichen Diskurs eher die Rolle der Mutter im Vordergrund steht, existiert der Begriff Vaterschaft oftmals in der Lücke, bestimmt durch Abwesenheit, Arbeitsverhalten oder Autorität. Wie sieht der ideale Vater aus? Und gibt es ihn auch im unmittelbaren Umfeld? Wie funktionieren Vorbilder? Und warum sind männliche Vorbilder so wichtig für die Heranwachsenden, unabhängig ihres Geschlechts? Wieviel bringen sich Väter heutzutage in den Haushalt und die Kindererziehung ein? Warum überwiegt bei vielen Jugendlichen weiterhin das Idealbild der binären Rollenverteilung? Und was hat das
mit dem Selbstbild der heranwachsenden Jugendlichen zu tun?
Um diesen Fragen nachzugehen, verhandelt Hennermanns Horde auf der Bühne Familiensituationen und -konstellationen, überdenkt alte und moderne Vätermodelle und sucht dafür Bilder, die die Jugendlichen in ihrer Realität abholen. Die Produktion legt den ästhetischen Schwerpunkt auf den urbanen Tanz. Vier zeitgenössische urbane Tänzer*innen mit unterschiedlichen Hintergründen stellen sich dem Thema und damit einhergehend der Tanzform Hip-Hop mit ihrem Image von verfestigten Männlichkeitsritualen. Diese darzustellen und zu dekonstruieren steht im Zentrum der ästhetischen Umsetzung.

Nürnberg

2/25/2025
7:30 PM

Väter (Hennermanns Horde)

Ist Vaterschaft ein Modell, ein Wunsch, eine Erinnerung oder einfach Realität? Während im gesellschaftlichen Diskurs eher die Rolle der Mutter im Vordergrund steht, existiert der Begriff Vaterschaft oftmals in der Lücke, bestimmt durch Abwesenheit, Arbeitsverhalten oder Autorität. Wie sieht der ideale Vater aus? Und gibt es ihn auch im unmittelbaren Umfeld? Wie funktionieren Vorbilder? Und warum sind männliche Vorbilder so wichtig für die Heranwachsenden, unabhängig ihres Geschlechts? Wieviel bringen sich Väter heutzutage in den Haushalt und die Kindererziehung ein? Warum überwiegt bei vielen Jugendlichen weiterhin das Idealbild der binären Rollenverteilung? Und was hat das
mit dem Selbstbild der heranwachsenden Jugendlichen zu tun?
Um diesen Fragen nachzugehen, verhandelt Hennermanns Horde auf der Bühne Familiensituationen und -konstellationen, überdenkt alte und moderne Vätermodelle und sucht dafür Bilder, die die Jugendlichen in ihrer Realität abholen. Die Produktion legt den ästhetischen Schwerpunkt auf den urbanen Tanz. Vier zeitgenössische urbane Tänzer*innen mit unterschiedlichen Hintergründen stellen sich dem Thema und damit einhergehend der Tanzform Hip-Hop mit ihrem Image von verfestigten Männlichkeitsritualen. Diese darzustellen und zu dekonstruieren steht im Zentrum der ästhetischen Umsetzung.

Nürnberg

2/26/2025
10:30 AM

Défaut d´origine (Théâtre des Chardons)

This is the story of a little girl who dislikes her face and her name. It is the story of a little girl who dreams in front of the television. She wants to be Marilyn, who sparkles like a diamond so that others can finally see her for real.
As an illegitimate daughter of a Belgian-Moroccan couple, Yasemin is confronted early on with exclusion and everyday racism; her body, skin color, and hair texture mark her as "different, not belonging." Shame turns into self-hatred, which also manifests physically and leads to further stigmatization. With honesty and humor, this autobiographical performance addresses Yasemine's inner conflicts and tells how shame transforms into a tool of liberation.
A production of Théâtre des Chardons, in co-production with Espace Magh. With support from Fédération Wallonie-Bruxelles, Service Général de la Création Artistique – Direction du Théâtre – Session TJP and from Pierre de Lune/ Centre Scénique Jeunes Publics de Bruxelles and Ekla/Centre scénique de Wallonie pour l’enfance et la jeunesse.

Nürnberg

2/27/2025
7:30 PM

Défaut d´origine (Théâtre des Chardons)

This is the story of a little girl who dislikes her face and her name. It is the story of a little girl who dreams in front of the television. She wants to be Marilyn, who sparkles like a diamond so that others can finally see her for real.
As an illegitimate daughter of a Belgian-Moroccan couple, Yasemin is confronted early on with exclusion and everyday racism; her body, skin color, and hair texture mark her as "different, not belonging." Shame turns into self-hatred, which also manifests physically and leads to further stigmatization. With honesty and humor, this autobiographical performance addresses Yasemine's inner conflicts and tells how shame transforms into a tool of liberation.
A production of Théâtre des Chardons, in co-production with Espace Magh. With support from Fédération Wallonie-Bruxelles, Service Général de la Création Artistique – Direction du Théâtre – Session TJP and from Pierre de Lune/ Centre Scénique Jeunes Publics de Bruxelles and Ekla/Centre scénique de Wallonie pour l’enfance et la jeunesse.

Nürnberg

2/28/2025
10:30 AM

Gostners SuppKultur - #29

Loose texts, prose miniatures, melancholic introspection, and detailed nature writing: SuppKultur brings Nuremberg's last Prague scholarship holder Anna Hofmann to the loft, where she prepares an evening together with the Bamberg duo Pantone. Anna Hofmann studied photography at the AdbK with Jürgen Teller before moving to the Leipzig Literary Institute. For SuppKultur, she recently created the evening "Speaking about Writing" together with Mina Reischer. She has published texts in various anthologies and magazines and is working on her first novel – for SuppKultur, she brings the smaller formats that resonate in a special way with the music of the duo Pantone on stage. Dominik Schramm and Justus Böhm met at the Salzburg Mozarteum. Since then, they have formed an unusual duo with guitar and double bass, playing jazz infused with world music and classical elements. The complex music and the thoughtful and emotional texts will find each other on stage, creating an intimate, undoubtedly somewhat melancholic program with three special artists from our region.

Suppkultur (Stephan Goldbach, musician, and Andreas Thamm, author) brings text, music, and soup to the loft. Monthly, Thamm, Goldbach, and their guests negotiate the silliest and the big themes of our time, always conceptually thought out, almost with ambition, and always surprising, never the same.

Nürnberg

3/4/2025
8:00 PM

»Ich bin nicht schön, aber frech« - Claire-Waldoff-Abend

A Claire-Waldoff evening with Katja Schumann and Veronika Eismont

Claire Waldoff first takes the stage at a Berlin cabaret in 1907 and sings her "Schmackeduzchen," against the wishes of the artistic director. A day later, she is the "Star of Berlin." She lives with a woman and is emancipated before the word even exists. Claire Waldoff helps Marlene Dietrich with her first major stage appearance, and Theo Lingen knew her as a baby before they would later stand on stage together. She clashes with the authorities, but no one can take her off the stages.
Katja Schumann, accompanied by Veronika Eismont on the piano, shines a spotlight on the work and life of this woman, who, like few others, shaped the artistic life in Berlin from the 1910s to the 1940s. Musical pieces from that time and texts by Ringelnatz, Kästner, Klabund, and others round off the evening. CLAIRE WALDOFF: A life that must be told.

Nürnberg

3/7/2025
8:00 PM

Im LOFT mit GYMMICK

Nürnberg

3/11/2025
8:00 PM

Karin Rabhansl & Aljosha Konter - »Guck nicht so: Ich hab´s auch nicht leicht mit mir!«

KARIN RABHANSL and ALJOSHA KONTER met at a rather strange cabaret gala in an upscale hotel in Stuttgart.

The venue was so exclusive that Aljosha decided to take the room offered to him, even though he actually lives in the state capital and could have comfortably slept at home. True to the motto "short distances," our hero happily indulged at the buffet and the free drinks all night. Karin, on the other hand, was so annoyed by champagne and small talk that she wandered off with a musician colleague and ended up in a rather dubious beer pub...

Both storylines will be recounted when KARIN RABHANSL and ALJOSHA KONTER go on tour together for the first time. A wonderfully buoyant rural excursion under the title "Guck nicht so: Ich hab´s auch nicht leicht mit mir!".

Dialect riot versus lover-Pop - presented by two stage-hardened solo entertainers who will throw songs and stories at each other in this duo - for the amusement of the audience, especially when KARIN RABHANSL starts her thwarted hit "Cool" and ALJOSHA KONTER casually counters with his "Ganz Cool".

Resistance is futile in this songwriter double strike. In this sense: "Please follow the white rabbit!"

About ALJOSHA KONTER:

Of course, one could say that Aljosha Konter has played more than 600 concerts. That he has been seen several times on German television and is also occasionally heard on the radio. One could also add that he wrote a title song for a German film and lent his voice to an advertising campaign. Surely one could also emphasize that he declined "The Voice of Germany" because he does not want to identify with those casting shows at all...

But all of that would surely be uncomfortable for the likable resident of Stuttgart, who titles his own music genre as lover-pop. Because what really makes him happy is standing in front of a handful of people and doing so in genuine singer-songwriter fashion.

http://www.aljoshakonter.de

ALJOSHA KONTER - I still like you
https://youtu.be/UdJGxQh1EDI

ALJOSHA KONTER - Again and again
https://youtu.be/l2zjOY7XDsQ

About KARIN RABHANSL:

Songwriters from Bavaria strike back!

She is considered one of the least influential artists of her generation... and has made a name for herself as "the no-hit wonder from the Bavarian Forest": The fearless KARIN RABHANSL creates darkly colorful singer-songwriter music in High German and Lower Bavarian, and sometimes in English if urgency demands it.

Lyrically, it’s about winners and losers, monsters and superheroes, loneliness, farewells, and betrayed dreams. It’s about the ride of life and the understanding that the world is not inherently good or bad, but often just a tricky place – strange and beautiful yet filled with pitfalls and shallows.

The keyword is: DIALECT RIOT! "I am a guitar girl," says the Lower Bavarian girl with the colorful striped stockings, who refuses to be pigeonholed stylistically yet knows exactly where she comes from and what she wants. No worries: Despite the sometimes dark undertones, we can envision KARIN RABHANSL as a happy person.

http://www.karinrabhansl.de

KARIN RABHANSL - Spiderman
https://youtu.be/rkgD3zY6UIY

KARIN RABHANSL - Anett
https://youtu.be/hb03ZMOVtSU

Nürnberg

3/15/2025
8:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

3/20/2025
8:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

3/21/2025
8:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

3/22/2025
8:00 PM

Fiebriges Verlangen

In the shady alleys of Gostenhof stands a clinic, whose corridors are filled not only with viruses, plagues, and bacteria, but also with destinies, longings, and the ultra-resistant germ of passion. Romances and hidden secrets make hearts beat faster, while the staff battles against their own inner demons. In the 4th season of the Gostner soap opera "Feverish Desire," gripping stories, dark machinations, and surprising twists are guaranteed.

Nürnberg

3/25/2025
8:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

3/26/2025
8:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

3/27/2025
8:00 PM

Gostner Deep Dive: Wenn die Tauben singen

The theater collective äöü invites you to a musical evening about the city pigeon. Playful, greedy, sympathetic, and sometimes with melancholy and digestive complaints, it allows us an unusual glimpse into ourselves and our world of life. Yes, it is not the lark whose chirping will soon reach your ear, nor the nightingale with its melody.

The "Gostner Deep Dive" invites an in-depth engagement with the respective piece. The introduction before the performance offers insights into the conceptual background of the production. The subsequent discussion provides space for dialogue and exchange with those involved in the production.

Registration via BZ Nürnberg: https://bz.nuernberg.de/programm/gesellschaft-und-kultur/theater-und-theater-spielen/theater-aktuell/gostner-deep-dive-theaterbesuche-mit-einfuehrung-32009-20242

Registration through the Educational Center Nuremberg

Nürnberg

3/27/2025
7:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

3/28/2025
8:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

3/29/2025
8:00 PM

Gostners SuppKultur - #30

Loose texts, prose miniatures, melancholic introspection, and detailed nature writing: SuppKultur brings Nuremberg's last Prague scholarship holder Anna Hofmann to the loft, where she prepares an evening together with the Bamberg duo Pantone. Anna Hofmann studied photography at the AdbK with Jürgen Teller before moving to the Leipzig Literary Institute. For SuppKultur, she recently created the evening "Speaking about Writing" together with Mina Reischer. She has published texts in various anthologies and magazines and is working on her first novel – for SuppKultur, she brings the smaller formats that resonate in a special way with the music of the duo Pantone on stage. Dominik Schramm and Justus Böhm met at the Salzburg Mozarteum. Since then, they have formed an unusual duo with guitar and double bass, playing jazz infused with world music and classical elements. The complex music and the thoughtful and emotional texts will find each other on stage, creating an intimate, undoubtedly somewhat melancholic program with three special artists from our region.

Suppkultur (Stephan Goldbach, musician, and Andreas Thamm, author) brings text, music, and soup to the loft. Monthly, Thamm, Goldbach, and their guests negotiate the silliest and the big themes of our time, always conceptually thought out, almost with ambition, and always surprising, never the same.

Nürnberg

4/1/2025
8:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

4/2/2025
8:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

4/3/2025
8:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

4/4/2025
8:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

4/5/2025
8:00 PM

Im LOFT mit GYMMICK

Nürnberg

4/8/2025
8:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

4/9/2025
8:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

4/10/2025
8:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

4/10/2025
10:00 AM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

4/11/2025
8:00 PM

Wenn die Tauben singen - Stückentwicklung

>"Grru-guruú-u" (Dove during courtship dance)
She is grey.
She is disliked.
She poops on everything dear to us.
She likes to walk, even though she is actually a flying artist. With her red feet, she walks with a wobbling head between us and almost merges with the tar and concrete of our city—as if she were an indispensable building block of our everyday life. And she is everywhere: a true city dweller. From the curb or from a windowsill, her brightly orange eyes gaze at us from mostly strange perspectives: Rarely at eye level. She prefers to tilt her head as if she wanted to ask something.
"Grúu gruu gruu
Grúu gruu gruu"
Let's listen closely to what she has to tell us. About her life? About the city? About neighborhood, work, and heartache? And about us?
"When the doves sing" finally brings her onto the stage and hands her the microphone. The theater collective äöü invites you to a musical evening about the city dove. Playful, voracious, likeable, and sometimes with melancholy and digestive problems, she allows us an unusual glimpse of ourselves and our world. Yes, it is not the lark whose chirping will immediately reach your ear, not the nightingale with its melody.
"Grúu gruu gruu
Grúu gruu gruu"

Nürnberg

4/12/2025
8:00 PM

Fiebriges Verlangen

In the shady alleys of Gostenhof stands a clinic, whose corridors are filled not only with viruses, plagues, and bacteria, but also with destinies, longings, and the ultra-resistant germ of passion. Romances and hidden secrets make hearts beat faster, while the staff battles against their own inner demons. In the 4th season of the Gostner soap opera "Feverish Desire," gripping stories, dark machinations, and surprising twists are guaranteed.

Nürnberg

4/29/2025
8:00 PM

Gostners SuppKultur - #31

Loose texts, prose miniatures, melancholic introspection, and detailed nature writing: SuppKultur brings Nuremberg's last Prague scholarship holder Anna Hofmann to the loft, where she prepares an evening together with the Bamberg duo Pantone. Anna Hofmann studied photography at the AdbK with Jürgen Teller before moving to the Leipzig Literary Institute. For SuppKultur, she recently created the evening "Speaking about Writing" together with Mina Reischer. She has published texts in various anthologies and magazines and is working on her first novel – for SuppKultur, she brings the smaller formats that resonate in a special way with the music of the duo Pantone on stage. Dominik Schramm and Justus Böhm met at the Salzburg Mozarteum. Since then, they have formed an unusual duo with guitar and double bass, playing jazz infused with world music and classical elements. The complex music and the thoughtful and emotional texts will find each other on stage, creating an intimate, undoubtedly somewhat melancholic program with three special artists from our region.

Suppkultur (Stephan Goldbach, musician, and Andreas Thamm, author) brings text, music, and soup to the loft. Monthly, Thamm, Goldbach, and their guests negotiate the silliest and the big themes of our time, always conceptually thought out, almost with ambition, and always surprising, never the same.

Nürnberg

5/6/2025
8:00 PM

Im LOFT mit GYMMICK

Nürnberg

5/13/2025
8:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

5/15/2025
8:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

5/16/2025
8:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

5/17/2025
8:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

5/21/2025
8:00 PM

Gostner Deep Dive: Die Zornigen

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped keeping their emotions in check, and stopped doing care work? What if they no longer tried? Using the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and wrath, director Johanna Heusser explores how the image of women has been nourished and shaped throughout history and what alternatives exist.

The "Gostner Deep Dive" invites an in-depth engagement with the respective piece. The introduction before the performance offers insights into the conceptual backgrounds of the production. The subsequent discussion provides space for dialogue and exchange with those involved in the production.

Registration through the BZ Nürnberg: https://bz.nuernberg.de/programm/gesellschaft-und-kultur/theater-und-theater-spielen/theater-aktuell/gostner-deep-dive-theaterbesuche-mit-einfuehrung-32011-20242

Registration through the Educational Center Nürnberg

Nürnberg

5/22/2025
7:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

5/22/2025
8:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

5/23/2025
8:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

5/24/2025
8:00 PM

Fiebriges Verlangen

In the shady alleys of Gostenhof stands a clinic, whose corridors are filled not only with viruses, plagues, and bacteria, but also with destinies, longings, and the ultra-resistant germ of passion. Romances and hidden secrets make hearts beat faster, while the staff battles against their own inner demons. In the 4th season of the Gostner soap opera "Feverish Desire," gripping stories, dark machinations, and surprising twists are guaranteed.

Nürnberg

5/27/2025
8:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

5/28/2025
8:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

5/29/2025
8:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

5/30/2025
8:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

5/31/2025
8:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

6/4/2025
8:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

6/5/2025
8:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

6/5/2025
10:00 AM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

6/6/2025
8:00 PM

Die Zornigen - Stückentwicklung

»If you’re not angry, you’re not paying attention.«

What if women simply surrendered to the seven deadly sins? What if they stopped wanting to please, stopped having their feelings in check, and stopped doing care work? What if they stopped trying? In an artificial space, four women meet. Together, they grapple with the seven sins. They sway and run, they struggle for togetherness and are sometimes alone. They let themselves go, behave badly, and stop making an effort.
Why do women always strive to be good enough? Socially desirable behaviors have been inscribed and archived in women’s bodies for generations. Based on the seven biblical deadly sins of sloth, envy, pride, gluttony, greed, lust, and anger, director Johanna Heusser examines how the image of women has been nurtured and shaped throughout history and what possible escapes exist. Inspired by Peter Handke's play "The Hour When We Knew Nothing of Each Other," in which people encounter each other without a single word being spoken, Johanna Heusser stages a choreographed theater piece without words in many images.

Nürnberg

6/7/2025
8:00 PM

Egersdörfer & Fast zu Fürth - »Bitte ruf mich nie wieder an«

This can happen, that you receive a call from this person. You are careless and answer the call. You chat carefully as if you are serving twelve long-stemmed champagne glasses while walking over three sleeping shepherd dogs. Afterwards, this person claims you said things that, God knows, you have never even considered in your dreams. Now you can either immediately involve a lawyer or throw a kitchen buffet out the window. In the case of Fast zu Fürth, a distress call rings out, which can only be heard by the authorized. Shortly after, these four men meet and create a song that gives the sorrow a melody and manages to put the terrible heartache into words. Tilo Heider taps out a light foundation on which the swinging minuet is built with his drums.

Lothar Gröschel pulls and tugs at his accordion in inwardly bubbling serenity. The noble Robert Stephan blows and organises a framework of insanity and fervently ignites a fire in the attic. And on the chimney stands Egersdörfer, singing and speaking until he loses his mind, and where the power of words ends, he begins to dance like a tipsy squirrel. The listeners sit with their mouths agape, marveling at how beautifully these four men shatter the world's grief in their holy wrath and flower-scented devotion. This is undoubtedly true.

PS: Forget the old advertising slogan of Deutsche Post pleading for sincere sympathy: "Why not give us a call!"

Nürnberg

10/31/2025
8:00 PM

Edit event entry
Report error

Want something special?

Wellness mit Naturkosmetik in Nürnberg

powered by mydays

Events nearby

Inner Sound - Stefan Grasse - Neues Museum Nürnberg
1/17/2025 / Nürnberg

Rückrunden-Dauerkarte 2024/25
1/15/2025 / Nürnberg

Lennart Schilgen - "Abwesenheitsnotizen"
1/17/2025 / Nürnberg

Der Regenbogenfisch - Gruppenvorstellung
1/16/2025 / Nürnberg

Kneipensingen für Alle! - Massenkaraoke zu Livemusik!
1/17/2025 / Erlangen

Locations nearby

Markgrafentheater
Erlangen

Theater Mummpitz
Nürnberg

Theater Ravensburg
Ravensburg

Schloss Burgfarrnbach
Fürth