STUDY PROJECT II - piece developments
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Play development begins with an urgent question, an exciting topic or a personal interest - not necessarily with a literary text. She sees theater as an open, creative process that begins where there is no ready-made template.
Power structures are at work everywhere. In the first three productions of the 2026 graduating directing class, they are dealt with in different ways: Power structures in female solidarity, in a religious context, in cultural institutions. Power always has to do with privileges and prioritization.
KARAOKE
(people will gradually leave here)
Maybe it was a full moon. Because everyone couldn't sleep again. Or maybe being unable to sleep is just not normal. Because being sleepless is more normal. Because tomorrow is the date that could lay the foundation for your theater career or drown you in the mire. Because it's necessary, but hardly possible, for you to pretend. Because your perspective is exactly what they need, but only if it's not what we didn't imagine this particular perspective to be.
You know what's interesting? Insomnia is actually not the normal state.
WE THANK
Aniol Kirberg, Lio Kappel, Anne Gisler, Una Celik, Margit Pötzsch
FROM AND WITH
Jasmin Gloor, Nika Matteo Hauger, Aschif Kasem, Julia Krukow, Julia Scholz
Mira Seesemann, Natalja Starosta, Laura Stern, Charlotte Trachsel
THE SEVEN MARIES
or the burst breast performance
On this evening, seven candidates will be chosen to decide which of the women is the best. But the best at what? And somehow some of the contestants seem to be missing today.
Triggered by unexpected twists and turns, Mary Jane, Mary Magdalena and Mary Theresa begin to question the concept of the format, their own role in the system and their competition with each other over the course of the program. Instead of acting against each other and constantly measuring themselves against each other, would solidarity with each other perhaps be an option? Which values need to be reconsidered, which lowest common denominator needs to be found? And where are the others?
Learned structures and patriarchal influences often stand in the way of mutual solidarity between FLINTA* people and give the superficial impression that separation offers a personal advantage. But who really benefits from this isolation? Who speaks for whom? And where the hell are the others now?
BY AND WITH
Isabella Krieger, Alina Schaller, Hannah Payr
DIRECTOR Marlene Reiter
DRAMATURGY Lovis Fricke
STAGE Sabrina Rox
COSTUME Karen Schmitz
SAMPLE FRIENDS / INSPIRE Anna-Maria Kluth, Leni von der Waydbrink
CONTENT NOTE
Addressing sexual violence, assaultive and unsupportive behavior
PostHarām
We meet in Sirat, the place where, according to Islamic belief, people give an account of their actions on earth after death. This is where it is decided whether people go to heaven or hell. Perhaps the only moment when we finally meet God and the only chance to confront him with what happens on earth in his name. We bring with us the stories of women who have told us about their experiences: Of the cruel practices they have witnessed, all of which are justified by religion. These are stories of women who had enough courage to speak out about their experiences and thus shake up a system.
But to what extent is misogyny inherent in religion itself, or is it instrumentalized for this purpose? How can we harness the strength of women who keep sharing their stories to make a real change? And finally: how can we get out of this sirat!
ACTING Minou Mehdizadeh Baghbani, Annie Oreopoulos, Mahta Aminaei, Negin Razzaghi, Sarah Gaia Calderon Stephan, Ronja Lüdemann
DIRECTOR Niyousha Azari
STAGE Frida Navratil
COSTUME Alexa Gieseler, Anouk Felscher
TEXT Malak Jayeola Aderounmu
DRAMATURGY Lilli Oeverink
MUSIC/VIDEO Candid Rütter
LIGHTING Elisabeth Dimigen
DESIGN Niyousha Azari, Malak Jayeola Aderounmu, Lilli Oeverink
Eintritt frei
Registration is necessary and can be done via eventbrite.
Dates at a glance
19.12.2025, 7:00 p.m.
20.12.2025, 7:00 pm