DAS WIRD MAN JA WOHL NOCH SAGEN DÜRFEN – MEINUNGSFREIHEIT UND DEMOKRATIE

GROSSE GESPRÄCHSREIHE DES PEN BERLIN

Mit:
Pinar Atalay, journalist (RTL)
und Michel Friedman, publicist
Moderation: Deniz Yücel, journalist (Welt)

Under the title "Das wird man ja wohl noch sagen dürfen – Meinungsfreiheit und Demokratie," PEN Berlin is organizing a series of discussions in Saxony, Thuringia, and Brandenburg: 37 events, from Annaberg to Perleberg, from Ilmenau to Zwickau, with 118 participating writers and journalists, publicists, and artists.

According to the perception of many, freedom of expression is also not in good shape in Germany. Although the means and opportunities to articulate criticism and be heard have never been greater than today, the number of those who feel restricted is increasing. But a closer look reveals that this is not simply a confrontation between two population groups. Rather, those who today complain about "narrow corridors of opinion," "thought and speech prohibitions," and "cancel culture" often try to set boundaries of what is acceptable tomorrow, depending on the issue at hand. This makes social dialogue very difficult – and this is where PEN Berlin comes in.

The two panelists Pinar Atalay and Michel Friedman want not only to talk with each other but also with the audience.

Freedom of expression is not freedom from contradiction; however, the mere feeling of restricted freedom of expression complicates social dialogue. For those who believe they cannot speak freely are also much less willing to listen to their counterpart.

PEN Berlin – We stand by our word

Entry to the house 1 hour before the performance, to the hall about 20 minutes before the performance.

The dear feelings. They make us fall or rise, influence our decisions and our health. But how can we better understand and use our emotions – and also better deal with the idiosyncrasies of our fellow human beings? Discussing this will be a genuine bundle of emotions: the author and journalist Tabitha Bühne from Leipzig. She has already run 100 kilometers through the night to find out how it feels, lived for 3 years in a country where she never wanted to go (India), and tries out at least one new thing every month. She is convinced: feelings are contagious – for better or for worse; they can be the strongest engine but also a formidable brake. They make us do the most bizarre, beautiful and terrible things. But why do we all need our emotions and how can we succeed in transforming some pains and disappointments into joy and surprises? A humorous, profound and encouraging lecture on the power and helplessness of our emotions and how we can rediscover them for ourselves. Tabitha Bühne is the author of several books as well as a sports editor and podcaster. The adventurous ultra-marathon runner has worked for several years as a model, actress, and fitness expert. She tries something new every month, loves challenges, good old books, and the wonders of nature. She lived in India with her husband Markus Spieker, author and television reporter, for three years, and they are now based in Leipzig.

MUSICAL DIALOGUES
1st CHAMBER CONCERT

Making jazz and improvised music visible and tangible in and from Brandenburg has long been the endeavor of a handful of jazz musicians in the region. There is a high-quality offer of different concert formats such as JazzLab or the Potsdam Jazz Festival "Jazzoffensiv", concert series in the Brandenburg countryside, and more. But this valuable music and cultural sector does not have it easy to assert itself against a high cultural offer concentrated in Berlin.

This is where the wonderful collaboration of Potsdam and Brandenburg musicians with the Theater Brandenburg comes in. In the double concert in the chamber music series of the theater, it is literally about communication and exchange on a musical level. Two ensembles that seem different at first glance come together and demonstrate the diverse possibilities of musical dialogue.

The duo Burges-Pietsch works at the intersection of sound, spoken word, recitative, and song. The TWIRLS QUARTET demonstrates encounters without words, relying entirely on the language of improvisation. Both ensembles showcase the wonderful variety of possibilities that jazz music offers as a form of expression and language. The artists show in a sensitive way how important one's own imagination is when listening, thus shaping their own listening experience.

Duo Burges-Pietsch
Vocals, Piano: Katharina Burges
Tenor Saxophone: Sebastian Pietsch

Twirls Quartet
Tenor and Soprano Saxophone: Alexander Beierbach
Piano: Nicolas Schulze
Double Bass: Meinrad Kneer
Drums: Yorgos Dimitriadis

Admission to the venue starts 1 hour before the performance.

LA TRAVIATA
OPER IN DREI AKTEN VON GUISEPPE VERDI

In Italian with German subtitles
Libretto by Francesco Maria Piave

The courtesan Violetta Valéry meets the young Alfredo Germont at a party, who immediately falls in love with her. However, Violetta believes she is not capable of true love and initially rejects him. Nonetheless, she gives him a camellia, which he is to return to her once it has withered – that is, the next day …

The famous story of Violetta and Alfredo was originally to be titled “Love and Death,” as these are the two extremes around which the plot revolves. The passionate and unique love of the “fallen woman” (the meaning of the title) and the gentle Alfredo is overshadowed from the very beginning by her tuberculosis illness, which she keeps secret from Alfredo to avoid alarming him. Family and society destroy their newfound happiness through false moral values – regret comes too late.

Giuseppe Verdi's most popular opera is based on the novel “La Dame aux Camélias” by Alexandre Dumas. Dumas himself had a relationship with the courtesan Marie Duplessis in the years 1844/45, who died of tuberculosis at the age of just 23 in 1847. Giuseppe Verdi also lived with the singer Giuseppina Strepponi since 1847, who was considered a “fallen” woman due to her illegitimate children.
Placing the life and death of a woman who defies all bourgeois morality at the center of an opera was a scandal at the time of the opera's premiere in 1853.

Musical Direction: Andreas Spering
Direction and Set Design: Dr. Alexander Buche
Costumes: Gabriele Kortmann
Dramaturgy: Carola Söllner
Chorus Direction: Karsten Drewing

With:
Violetta Valéry: Natallia Baldus
Alfredo Germont: Sotiris Charalampous
Giorgio Germont: Frederik Baldus
Flora Bervoix, Violetta's friend: Rosamond Thomas
Annina, Violetta's maid and confidante: Lana Hartmann
Gastone, acquaintance of Violetta and Alfredo: Ilja Martin
Barone Douphol: Lukas Eder
Dottore Grenvil: Andreas Künkel
Marchese d’Obigny, servant, Flora's steward: Nico Brazda
Giuseppe: Jonas Zado
Chorus singers: Daniel Steiner, Matthias Eger

Brandenburg Symphony Orchestra
Extra Choir Brandenburg

A production of the Brandenburg Theater.

Piece introduction at 6:45 PM in the foyer of the Grand House

Following the motto "Crisis as an opportunity," Sascha Korf also takes something enduring from the pandemic period. "This can be seen not least in my little belly," admits Germany's most interactive cabaret artist. The improvisational artist also had plenty of time to come up with new stories and mischief. And so, his latest solo program "VENI, VIDI, WITZIG" is as usual: fast, funny, interactive, and current. In the past, one would drive two hours to the supermarket, now one can have three tomatoes delivered home in 10 minutes. Previously, 12 people were satisfied with a pot of chili. Nowadays, one cooks for 12 in seven different pots: vegan, regional, paleo, low carb, sustainable, and gluten-free.
Sascha's first poetry collection "Meine Pfanne und ich" fits into this theme, just like his novel "Sofa, so Good," both of which find a place on stage. Last but not least, the celebrities and politicians of the day are not spared. The evening is crowned with Sascha's traditional Schlager pantomime à la "Turbo" Korf!
But Sascha Korf wouldn't be Sascha Korf if he didn't chronically interact with the audience. The sympathetic and quick-witted Cologne native engages in verbal banter with his guests. This results in sensitive, delightful, and humorous dialogues on an equal footing. As the saying goes: At Korf's, you come as a stranger and leave as a friend.
"VENI, VIDI, WITZIG" is Sascha Korf's sixth stage program by now. The audience can expect an exquisite blend of stand-up, cabaret, and interaction: A grab bag that makes each evening unfold differently and holds some surprises. Let yourself be enchanted, entertained, and amused. Because with Sascha, you're sitting in the front row wherever you are.

LA TRAVIATA
OPER IN DREI AKTEN VON GUISEPPE VERDI

In Italian with German subtitles
Libretto by Francesco Maria Piave

The courtesan Violetta Valéry meets the young Alfredo Germont at a party, who immediately falls in love with her. However, Violetta believes she is not capable of true love and initially rejects him. Nonetheless, she gives him a camellia, which he is to return to her once it has withered – that is, the next day …

The famous story of Violetta and Alfredo was originally to be titled “Love and Death,” as these are the two extremes around which the plot revolves. The passionate and unique love of the “fallen woman” (the meaning of the title) and the gentle Alfredo is overshadowed from the very beginning by her tuberculosis illness, which she keeps secret from Alfredo to avoid alarming him. Family and society destroy their newfound happiness through false moral values – regret comes too late.

Giuseppe Verdi's most popular opera is based on the novel “La Dame aux Camélias” by Alexandre Dumas. Dumas himself had a relationship with the courtesan Marie Duplessis in the years 1844/45, who died of tuberculosis at the age of just 23 in 1847. Giuseppe Verdi also lived with the singer Giuseppina Strepponi since 1847, who was considered a “fallen” woman due to her illegitimate children.
Placing the life and death of a woman who defies all bourgeois morality at the center of an opera was a scandal at the time of the opera's premiere in 1853.

Musical Direction: Andreas Spering
Direction and Set Design: Dr. Alexander Buche
Costumes: Gabriele Kortmann
Dramaturgy: Carola Söllner
Chorus Direction: Karsten Drewing

With:
Violetta Valéry: Natallia Baldus
Alfredo Germont: Sotiris Charalampous
Giorgio Germont: Frederik Baldus
Flora Bervoix, Violetta's friend: Rosamond Thomas
Annina, Violetta's maid and confidante: Lana Hartmann
Gastone, acquaintance of Violetta and Alfredo: Ilja Martin
Barone Douphol: Lukas Eder
Dottore Grenvil: Andreas Künkel
Marchese d’Obigny, servant, Flora's steward: Nico Brazda
Giuseppe: Jonas Zado
Chorus singers: Daniel Steiner, Matthias Eger

Brandenburg Symphony Orchestra
Extra Choir Brandenburg

A production of the Brandenburg Theater.

Piece introduction at 6:45 PM in the foyer of the Grand House

Puss in Boots
A puppet play with hand and shoe based on the Brothers Grimm

The cobbler Klaus has nothing to do, so he tells the story of a clever cat.
Out of gratitude to the poor miller's boy who always treated him well and got into trouble without fault, the cat decides to help him lead a better life. He sets off in his boots! His idea: clothes make the man. Puss in Boots plans, organizes amazing things with cunning and cheekiness, paving the way to happiness for the boy. He promises to fulfill people's desires, such as work or partridges, or the freedom to decide for themselves.
The King is deceived. The princess sees through the cat but is curious about his ideas. The boy is not a count in fancy clothes, but naked, a nobody. He must prove that he is worthy of royal clothes. It is about the true essence of the boy. With the help of Puss in Boots, he achieves turning what was only an illusion into reality.
The boy and the princess discover that love, friendship, and wisdom are worth more than an inheritance – whether it be a mill or a kingdom.
Those who seek happiness only need to set out on the journey.

Play and script: Jürgen Wicht
Puppets and masks: Ulrike Wicht
Costumes and accompaniment: Kornelia Weichert

Ages 4 and up
Duration: about 45 minutes

A performance by Wicht-Theater, Wismar

Admittance to the venue starts 1 hour before the show, and to the hall approximately 10 minutes before the show.

Puss in Boots
A puppet play with hand and shoe based on the Brothers Grimm

The cobbler Klaus has nothing to do, so he tells the story of a clever cat.
Out of gratitude to the poor miller's boy who always treated him well and got into trouble without fault, the cat decides to help him lead a better life. He sets off in his boots! His idea: clothes make the man. Puss in Boots plans, organizes amazing things with cunning and cheekiness, paving the way to happiness for the boy. He promises to fulfill people's desires, such as work or partridges, or the freedom to decide for themselves.
The King is deceived. The princess sees through the cat but is curious about his ideas. The boy is not a count in fancy clothes, but naked, a nobody. He must prove that he is worthy of royal clothes. It is about the true essence of the boy. With the help of Puss in Boots, he achieves turning what was only an illusion into reality.
The boy and the princess discover that love, friendship, and wisdom are worth more than an inheritance – whether it be a mill or a kingdom.
Those who seek happiness only need to set out on the journey.

Play and script: Jürgen Wicht
Puppets and masks: Ulrike Wicht
Costumes and accompaniment: Kornelia Weichert

Ages 4 and up
Duration: about 45 minutes

A performance by Wicht-Theater, Wismar

Admittance to the venue starts 1 hour before the show, and to the hall approximately 10 minutes before the show.

LA TRAVIATA
OPERA IN THREE ACTS BY GIUSEPPE VERDI

In Italian with German supertitles
Libretto by Francesco Maria Piave

The courtesan Violetta Valéry meets the young Alfredo Germont at a party, who immediately falls in love with her. However, Violetta believes she is incapable of true love and initially turns him down. Nevertheless, she gives him a camellia, which he is to return to her once it has wilted – that is, the next day …

The famous story of Violetta and Alfredo was originally to be called “Love and Death,” as these are the two extremes around which the plot revolves. The passionate and unique love of the “fallen woman” (this is the meaning of the title) and the gentle Alfredo is overshadowed from the beginning by her tuberculosis illness, which she keeps secret from Alfredo in order not to distress him. Family and society destroy the recently gained happiness of the two through false moral values – regret comes too late.

Giuseppe Verdi's most popular opera is based on the novel "La Dame aux Camélias" by Alexandre Dumas. Dumas himself had a relationship with the courtesan Marie Duplessis during the years 1844/45, who died in 1847 at the age of just 23 from tuberculosis. Giuseppe Verdi also lived with the singer Giuseppina Strepponi since 1847, who was regarded as a "fallen" woman due to her illegitimate children.
To place the life and death of a woman who defies all bourgeois morality in the center of an opera was a scandal at the premiere of the opera in 1853.

Musical direction: Andreas Spering
Direction and stage: Dr. Alexander Buche
Costumes: Gabriele Kortmann
Dramaturgy: Carola Söllner
Chorus direction: Karsten Drewing

With:
Violetta Valéry: Natallia Baldus
Alfredo Germont: Sotiris Charalampous
Giorgio Germont: Frederik Baldus
Flora Bervoix, friend of Violetta: Rosamond Thomas
Annina, Violetta's servant and confidante: Lana Hartmann
Gastone, acquaintance of Violetta and Alfredo: Ilja Martin
Baron Douphol: Lukas Eder
Doctor Grenvil: Andreas Künkel
Marchese d’Obigny, servant, Flora's servant: Nico Brazda
Giuseppe: Jonas Zado
Chorus singers: Daniel Steiner, Matthias Eger

Brandenburg Symphony Orchestra
Extra Choir Brandenburg

A self-production of the Brandenburg Theater.

Introduction to the piece at 3:15 PM in the foyer of the Large House.

FROM THE BIG BANG TO THE FALL OF THE WALL

"Back then" everything was so beautiful, sang Bärbel Wachholz at the beginning of the 60s in the GDR. When is "back then?" Every generation has events and memories that are connected with songs and melodies. Many of these have been passed down to the following generations and have entered the collective (sub)consciousness. In East and West. And many of these memories are cross-border, some stopped at the border. On both sides of the Iron Curtain.

In their program "From the Big Bang to the Fall of the Wall," the legendary Brandenburg "Giesecke" from the "White Horse Inn," Henry Nandzik, and Dirk Rave (also known as the musical counterpart of "Sister Cordula" Saskia Kästner) tell and sing their way through the German-German hit history, thus painting a panorama of sometimes surprising commonalities: from the Boogie-Woogie explosion of the early post-war years to the "New German Wave," featuring hits from Evelyn Künneke, Bully Buhlan, Bärbel Wachholz, Ruth Brandin and the Sputniks, Gitte Haenning, Jürgen Marcus, Frank Schöbel, Karussell, Karat, and – of course – Vicky Leandros!

In 2022, Nandzik and Rave already got the foyer singing – and due to popular demand, they are back this year! Do not miss this evening!

With
Henry Nandzik
Dirk Rave

Entrance into the venue 1 hour before the performance, into the auditorium about 20 minutes before the show.

MEPHISTO

BASED ON THE NOVEL BY KLAUS MANN
ADAPTATION BY SASCHA HAWEMANN
USING ORIGINAL TEXTS

He is the rising star in the theatrical sky: the young, ambitious actor Hendrik Höfgen can enchant his audience. In the late 1920s, the times resemble a dance on the volcano. There is excessive partying, while the Weimar democracy is under heavy pressure. Höfgen shines in the salons, shows himself politically leftist, and denounces the fascists. Then, something happens that hardly anyone expected: the Nazis seize power - and promise fame and wealth to the rising actor. He hesitates for only a moment, then betrays his old friends and ideals. The novel character Hendrik Höfgen, famously inspired by the real theater man Gustaf Gründgens, rushes from success to success in Berlin during the Hitler dictatorship, becoming the director and councilor. While the historical Gründgens also drank champagne with Nazi thugs, the author of the novel, Klaus Mann, led a restless life in exile. Expelled from his homeland, relegated to an outsider role as a gay man, oscillating between depression and activism, haunted by inner demons, he devoted his entire existence to the anti-fascist struggle.

The novel and its historical references show artists in an existential situation: What should be done when a barbaric dictatorship threatens to sweep away all cultural achievements? What is the cost of standing up for one's own values in such dark times?

Directed by: Sascha Hawemann
Set Design: Alexander Wolf
Costume Design: Ines Burisch
Dramaturgy: Christopher Hanf

A production of Hans Otto Theater Potsdam within the framework of the Theater Network

Entrance to the venue 1 hour before the performance, to the hall approximately 20 minutes before the performance.

Der Tod - Death Comedy
Gevatter Unser

Death is a bone job. Religions promise reincarnation and rebirth all over the world, modern medicine tirelessly researches eternal life, and now the death's perpetual rival, the stork, has laid an egg at the grave for death. Chaotic days in the house of the reaper.

And so people are getting older and the world's population keeps growing. Not even climate change helps, as the last ride is rarely a cargo bike. And with an oak coffin and crematorium waiting after death, the next environmental sins are on the horizon. And before the grim reaper knows it, the first souls are stuck at the Jordan. But a freshly baked godfather isn’t dissuaded by that, instead conjuring up solutions from his robe.

In his fourth evening program, the inventor of Death Comedy dedicates himself to current issues in this world and the next. He reads, sings, and improvises with his customary angelic voice, shows his latest cemetery photos, and reports fresh from the field about his experiences when he shows up at work with little Totellini.

Gevatter Unser. The new show of death - unmistakably, pitch black, and very close to the people.

Awards
- Jury Prize “Schlumpeweck 2023”
- First Prize “Tuttlinger Krähe” 2023
- Jury and Audience Award Paulaner Solo 2022
- Audience Award Leipzig Laughing Fair 2019
- Thuringian Small Arts Award 2016
- Roller Coaster Culture Award 2015 for the translation of the program into sign language for the hearing impaired
- Live Cultural Highlight 2014 in Munich (Kulturküche)
- Jury Prize 2013 at the Great Small Arts Festival of the Wühlmäuse
- Winner of the Kupferpfennig at the Leipzig Laughing Fair 2013
- Audience Award 2012 at the Stockstadt Roman Helmet
- Winner 2011 of the RBB fritz Night of Talents (Word Category)

Entry into the house 1 hour before the performance, into the hall about 20 minutes before the performance.

YOU ARE CALLING OUTSIDE OF OFFICE HOURS

A PSYCHICAL

"You are calling outside of office hours" is a touching, humorous, pensive, lively piece of theater. It is a musical theater evening for two people. It addresses mental disorders from the perspective of those affected.

The author Ms. Wortreich and the composer Mr. Klangvoll delve into research for their next piece and encounter a variety of people - soon they get lost in the universe of life stories, in the flood of expert information, and in the millennia-old history of attempting to fathom the human psyche.

With predominantly original songs and texts, "You are calling outside of office hours" has as many colors as the people it revolves around: The piece was created in collaboration with those affected and aims to help break down prejudices, inform people, and make the world a little more open. After the premiere at the Brandenburger Theater in September 2022, the "office hours" were awarded the German Musical Theater Prize for Miriam Schwan and Carola Söllner in the category "Best Lyrics" by the German Musical Academy in October 2023.

Concept / Texts / Dramaturgy: Miriam Schwan, Carola Söllner, et al.
Music: Miriam Schwan, Johannes Still, et al.

With
Miriam Schwan
Johannes Still

Introduction to the play at 17:15 in the Studio Stage foyer

YOU ARE CALLING OUTSIDE OF BUSINESS HOURS

A PSYCHICAL

"You are calling outside of business hours" is a touching, funny, thought-provoking, lively piece of theater. It is a musical evening for two people that addresses mental disorders from the perspective of those affected.

The author Mrs. Wortreich and the composer Mr. Klangvoll dive into research for their next piece and encounter a variety of people - soon they lose themselves in the universe of life stories, the flood of expert information, and the millennia-old history of attempting to fathom the human psyche.

With predominantly original songs and texts, "You are calling outside of business hours" has as many colors as the people it focuses on: The piece was created in collaboration with those affected and aims to help break down prejudices, inform people, and make the world a bit more open. After its premiere at the Brandenburger Theater in September 2022, the "business hours" were awarded the German Musical Theater Prize for Miriam Schwan and Carola Söllner in the category "Best Lyrics" by the German Musical Academy in October 2023.

Concept / Texts / Dramaturgy: Miriam Schwan, Carola Söllner, among others
Music: Miriam Schwan, Johannes Still, among others.

With
Miriam Schwan
Johannes Still

Introduction to the play at 6:45 pm in the studio theater foyer

YOU ARE CALLING OUTSIDE OF BUSINESS HOURS

A PSYCHICAL

"You are calling outside of business hours" is a touching, funny, thought-provoking, lively piece of theater. It is a musical evening for two people that addresses mental disorders from the perspective of those affected.

The author Mrs. Wortreich and the composer Mr. Klangvoll dive into research for their next piece and encounter a variety of people - soon they lose themselves in the universe of life stories, the flood of expert information, and the millennia-old history of attempting to fathom the human psyche.

With predominantly original songs and texts, "You are calling outside of business hours" has as many colors as the people it focuses on: The piece was created in collaboration with those affected and aims to help break down prejudices, inform people, and make the world a bit more open. After its premiere at the Brandenburger Theater in September 2022, the "business hours" were awarded the German Musical Theater Prize for Miriam Schwan and Carola Söllner in the category "Best Lyrics" by the German Musical Academy in October 2023.

Concept / Texts / Dramaturgy: Miriam Schwan, Carola Söllner, among others
Music: Miriam Schwan, Johannes Still, among others.

With
Miriam Schwan
Johannes Still

Introduction to the play at 6:45 pm in the studio theater foyer

LA TRAVIATA
OPERA IN THREE ACTS BY GIUSEPPE VERDI

In Italian with German surtitles
Libretto by Francesco Maria Piave

The courtesan Violetta Valéry meets the young Alfredo Germont at a party, who immediately falls in love with her. However, Violetta believes she is not capable of true love and initially rejects him. Nevertheless, she gives him a camellia, which he is to return to her once it has wilted – that is, the next day...

The famous story of Violetta and Alfredo was originally to be titled "Love and Death," as these are the two extremes around which the plot revolves. The passionate and unique love of the "fallen woman" (which is the meaning of the title) and the gentle Alfredo is overshadowed from the very beginning by her tuberculosis, which she keeps secret from Alfredo to avoid disturbing him. Family and society destroy the newly found happiness of the two through false moral values – regret comes too late.

Giuseppe Verdi's probably most popular opera is based on the novel "La Dame aux Camélias" by Alexandre Dumas. Dumas himself had a relationship with the courtesan Marie Duplessis in 1844/45, who died of tuberculosis in 1847 at just 23 years old. Giuseppe Verdi also lived with the singer Giuseppina Strepponi since 1847, who was regarded as a "fallen" woman due to her illegitimate children.
Putting the life and death of a woman who defies all bourgeois morality at the center of an opera was a scandal at the premiere of the opera in 1853.

Musical Direction: Andreas Spering
Direction and Stage: Dr. Alexander Buche
Costumes: Gabriele Kortmann
Dramaturgy: Carola Söllner
Chorus Direction: Karsten Drewing

With:
Violetta Valéry: Natallia Baldus
Alfredo Germont: Sotiris Charalampous
Giorgio Germont: Frederik Baldus
Flora Bervoix, friend of Violetta: Rosamond Thomas
Annina, servant and confidante of Violetta: Lana Hartmann
Gastone, acquaintance of Violetta and Alfredo: Ilja Martin
Baron Douphol: Lukas Eder
Doctor Grenvil: Andreas Künkel
Marquis d’Obigny, servant, servant of Flora: Nico Brazda
Giuseppe: Jonas Zado
Chorus singers: Daniel Steiner, Matthias Eger

Brandenburg Symphony Orchestra
Extra Chorus Brandenburg

A self-production of the Brandenburg Theater.

Introduction to the piece at 5:15 PM in the foyer of the Great House.

TODAY: GENOVEVA!
OR: ABOUT THE PLEASURE OF PUPPET THEATER

A PLEASANT THEATER EVENING ABOUT THE EXTRAORDINARY LIFE AND THE SPECIAL ART OF THE OLD TRAVELING PUPPET PLAYERS

We have the honor to invite the esteemed audience to a delightful theater evening about the extraordinary life and special art of historical traveling puppet players.
Experience little artists and great emotions! Follow dramatic scenes and thrilling stories! Look forward to Kasper and Gretel as guest stars and weep over our classic women's tragedy!

This true event has been specially arranged for your enjoyment for puppets, musically adapted and significantly improved. Curtains up!

Idea and Performance Heike Klockmeier
Direction and Music Dietmar Staskowiak
Set Design Jürgen Maaßen
Text Klockmeier, Staskowiak
Technical Setup Jürgen Maaßen

A performance by Theater AMBRELLA, Hamburg

Entrance to the house 1 hour before the performance, to the hall about 20 minutes before the performance

Based on the Norwegian fairy tale of the same name

Once upon a time, there was a queen and a king who had no children, and the queen was so saddened by this that she hardly had a happy moment.
And there was a woodcutter who had twins. One was pretty and graceful, the other was wild and shaggy.
The poor man did not know how to raise the girls alone and decided to give one to the royal couple. He gave away the beautiful child, "so that they could love it right away."
Zottelhaube, however, grew up with her father in the forest. Wherever she was seen, she rode on a billy goat.

How both children found each other, and how Fredi, the billy goat, helped, is openly told and performed in Heike Klockmeier's puppet theater.

Idea and Performance: Heike Klockmeier
Director: Dietmar Staskowiak
Figures and Scenography: Jürgen Maaßen

For ages 4 and up
Duration: approx. 50 minutes

A production by Theater AMBRELLA, Hamburg

Admittance to the venue 1 hour before the performance, into the hall approximately 10 minutes before the performance

Based on the Norwegian fairy tale of the same name

Once upon a time, there was a queen and a king who had no children, and the queen was so saddened by this that she hardly had a happy moment.
And there was a woodcutter who had twins. One was pretty and graceful, the other was wild and shaggy.
The poor man did not know how to raise the girls alone and decided to give one to the royal couple. He gave away the beautiful child, "so that they could love it right away."
Zottelhaube, however, grew up with her father in the forest. Wherever she was seen, she rode on a billy goat.

How both children found each other, and how Fredi, the billy goat, helped, is openly told and performed in Heike Klockmeier's puppet theater.

Idea and Performance: Heike Klockmeier
Director: Dietmar Staskowiak
Figures and Scenography: Jürgen Maaßen

For ages 4 and up
Duration: approx. 50 minutes

A production by Theater AMBRELLA, Hamburg

Admittance to the venue 1 hour before the performance, into the hall approximately 10 minutes before the performance

Lüül's songs inspire with musical diversity and captivating charm. It is idiosyncratic and authentic, presented with Berliner chutzpah. Lüül manages the balancing act between depth and humor, everyday madness, and moving moments with great skill. Above all, it's good entertainment!

For fifty years, Lüül has been navigating between Krautrock, wonderful world music (17 Hippies), and modern songwriting. His voice is distinctive, his compositions are never arbitrary, and are outstandingly interpreted by a fantastic band, with lyrics that are sometimes poetic, sometimes cutting. This is also the case with "Der stille Tanz," with reflections on the Corona pandemic that brought Lüül, the globetrotter, to a standstill ("The world stands still"). Melancholy meets world-weariness without succumbing to sentimentality. On the contrary, this musical jack-of-all-trades manages to entertain at a high level.