Due to an illness of Jean Ziegler, the reading "Jean Ziegler – Die Schande Europas" on 27 February in Kammer 1 has unfortunately to be cancelled without substitution. Tickets already purchased can be returned at the box office from now until 2 March 2020.

Munich is home to more Greeks than any other German city. Many came in the 1960s as guest workers or to escape the military dictatorship back home. In recent years, as a result of the ongoing economic crisis, the number of Greeks living in Germany has risen again for the first time. Many young Greeks belong to the generation of the “working poor” — skilled men and women who have to make do with badly paid jobs. Is the sad reality of Greek life now part of the everyday for many living in Munich too? The Azas/Tsinikoris directing team go in search of the various Greek communities in Munich and create an image of German-Greek history that goes beyond stereotypes. Stories of Munich citizens from Greece.

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With English surtitles. For our seating recommendations please click here.

When you act, Schiller wrote, you are truly free, and this freedom is what everyone craves. And for director Leonie Böhm, the theatre is an excellent place to go looking for it, a place where you can act and experiment – live, together with others. Leonie Böhm has chosen The Robbers to find this freedom, the work with which young Schiller tried his hand as a playwright for the first time. Schiller’s play tells the story of the brothers Franz and Karl Moor, who suffer from their father’s lack of acknowledgement. The character of the father stands for many things: the inner critic, the audience, the mirror of society, or old principles. In an attempt to emancipate themselves, the brothers lose themselves in the woods and in their thoughts. “It’s my business what I want to make of myself,” exclaims Franz. Why should we not live by our own fictions? Why put up barriers? How do we get back to acting?

Together with the ensemble, Leonie Böhm takes the material of the existing play in an attempt to catch the soul “in its most secret operations”. Real intimacy without compulsion, your own rules, no fear. Get out of your rut and into life. Very freely adapted from Schiller.

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PREMIERE ON 23. NOVEMBER 2019

Why was I so happy? I wish I didn’t care about that question anymore. Why was I so happy? I had a banal and beautiful life like everyone else. At last, life was boring in a way I’d never known before. Everything was just normal and I was happy for the first time. We weren’t normal, of course, but together, somehow we were. I can’t even tell you how happy I was. Perhaps because, to me, it all seemed like it was happening next door. It seemed to me that I’d got mixed up in something that was happening next door. It wasn’t even about me, and that’s why I was so happy. What people say next door is acceptable. It’s like in the theatre. People go to the theatre because they know it’s happening next door. All the important things happen next door. And people don’t even have to live next to a theatre. What they’d like to say, what really has to do with them, happens according to a completely different script, not their own script at all. You can’t just say straight out what you want What does straight out even mean? No, I don’t want to hear my own stories, and I don’t want to tell them either. I know from the start that I’m more the script that has nothing to do with me.

René Pollesch’s plays use theoretical means to liberate thought from common sense. In his works complex ideas become concrete, and abstract concepts become physical. For the first time since 2013, the director and playwright is back at the Münchner Kammerspiele, this time with “Passing – It’s so easy, was schwer zu machen ist”.