The Volksbühne: A Stage for the Great, the Quirky, and the Remarkable
Ah, the Volksbühne! Where the curtains rise and the drama unfolds in spectacular fashion, so much so that it’s practically a reality show waiting to happen. From 1992 to 2017, Frank Castorf held the reins and boy, did he steer it into some wild waters! This wasn’t just a theatre; it was a petri dish for artistic experimentation that left critics and audiences alike scratching their heads—sometimes in bewilderment, other times in sheer applause.
Now, here we are, mourning the sudden disappearance of René Pollesch, whose tenure as the new director was anticipated to sparkle like a fresh bottle of champagne at a New Year’s party. Gone too soon, like a bad haircut. But fear not, dear reader! This research project aims to dig deep into the veins of the Volksbühne’s artistic history, exploring the thrills, the spills, and maybe a few clerical errors in between.
The main goal, however, isn’t merely to eulogize Castorf’s era (even if it deserves a miniseries!). Instead, it’s to unearth the many branches of this counter-cultural project. Despite the fact that our French friends have a profound appetite for sophisticated theatre, the Volksbühne remains curiously understudied—like that one promising student who never quite shows up for class. And by ‘class’, I mean a detailed examination of its global coherence, artistic identity, and, yes, the delicious contradictions that just scream for attention.
The upcoming study day serves as a theatrical buffet, garnished with insights from French-speaking specialists. It’s not everyday you get a chance to hear from the likes of Jean Chaize and Brigitte Cuvelier speak about their roles at Volksbühne, which I can only assume were laced with dramatic flair and perhaps some perplexing interpretative dance moves. And in Prime Time, we even have director Maxime Kurvers weighing in. Hope he’s ready with the juicy anecdotes!
Programme Breakdown
For those of you who have just woken up from a nap and missed the memo, here’s the rundown of the day’s artistic escapades:
- 9:15 a.m.: Welcome of participants – because you wouldn’t want to miss the show before it begins!
- 9:30 a.m.: Presentation of the day – time to set the scene, because what’s a performance without an opening act?
- 9:45 a.m.-10:35 a.m.: The Volksbühne, a theater in history (1890-1992) – a nostalgia trip, perhaps? Buckle up, it’s a blast from the past!
- 10:35-11:25: The Volksbühne of the Castorf era (1992-2017) – a coming-of-age story for the theatre itself. Spoiler: it’s dramatic!
- Pause – yes, even critics need a break to regather their thoughts.
- 11:40 a.m.-12:40 p.m.: The Volksbühne by its artists (1) – artists presenting their takes! It’s like ‘The Voice’ but with more existential dread.
- Lunch – and here’s where we gather fuel for the afternoon’s onslaught of concepts!
- 2:15 p.m.-3:15 p.m.: The Volksbühne by its artists (2) – because one panel just isn’t enough! Florence Baillet moderates. Expect fireworks!
- 3:15 p.m.-4:30 p.m.: Testimony – nothing gets the audience going like a good old director’s confession!
- Pause – another breather! You need one after all the high drama.
- 4:45 p.m.-5:45 p.m.: And then? – deep philosophical musings on what comes next, because existentialism is always in style!
Wrapping up the day, you’ll get your dose of Dieter Lesage discussing the “Volksbühne affair”—because who doesn’t love a little bit of scandal in their theatre program? And Marina Dumont will explore issues of invisibility to institutionalization, which sounds fancy enough to require a monocle.
In sum, if you’ve ever had a penchant for the dramatic, a nose for the avant-garde, or just want to understand how the Volksbühne etches itself into the broader theatre landscape, this event is absolutely unmissable. Grab your beret, maybe a glass of wine, and dive into the wonderful chaos that is Berlin’s theatrical heartbeat!
From 1992 to 2017, under the influential leadership of Frank Castorf, the Volksbühne am Rosa-Luxemburg-Platz in Berlin transformed into a pivotal hub for creative expression, shaping the landscape of contemporary theater not just in Berlin, but across Germany and the international arts scene. In light of the recent passing of René Pollesch, a seminal voice in this theater and its newly appointed director since 2021, this research initiative seeks to delve into the unique artistic environment fostered during his and Castorf’s tenures. This endeavor aims not merely to reflect on the concluding chapter of the Castorf era, but to illuminate the profound impact of a counter-cultural project that remains inadequately acknowledged within France. While extensive studies have focused on individual artists like Castorf and Marthaler, the overall artistic identity of the Volksbühne has surprisingly received scant comprehensive analysis. This significant gap in scholarship is precisely what this study day aims to address by convening a diverse group of French-speaking experts from various fields. Attendees will have the opportunity to engage with insights from Jean Chaize and Brigitte Cuvelier, who will share their experiences as performers within the theater, along with reflections from director Maxime Kurvers regarding his ongoing relationship with this iconic institution.
Programme
9:15 a.m.: welcome of participants
9:30 a.m.: Presentation of the day
9:45 a.m.-10:35 a.m.: The Volksbühne, a theater in history (1890-1992)
Jean-Louis Besson (Paris-Nanterre University)
10:35-11:25: The Volksbühne of the Castorf era (1992-2017) at Rosa-Luxemburg-Platz
Jean Chaize and Brigitte Cuvelier, dancers and actors
11:40 a.m.-12:40 p.m.: The Volksbühne by its artists (1)
Raphaël Hauser (ENS), « L’ère Castorf vue par Marthaler et Ensemble. The Murx à Familiar Feelings, Mixed Faces »
Ioanna Solidaki (CET, UNIL), “The artist Christoph Marthaler, before, during and after the Berlin Volksbühne”
2:15 p.m.-3:15 p.m.: The Volksbühne by its artists (2) (moderation: Florence Baillet)
Hélisenne Lesstringant (Paris 8 – Vincennes Saint-Denis), “Chance 2000 by Christoph Schlingensief or the explosion of stage venues”
Corentin Jan (Sorbonne Nouvelle/LMU München), “What is a theater that relies on the autonomy of its artists? Some answers from the theater of René Pollesch »
3:15 p.m.-4:30 p.m.: Testimony
Maxime Kurvers, director
4:45 p.m.-5:45 p.m.: And then?
Dieter Lesage (RITCS Brussels), “Anti-Dercon. Some thoughts on the Volksbühne affair (2015-2018) »
Marina Dumont (Paris Nanterre University), “RomaTrial eV at the Grüner Salon de la Volksbühne. From invisibility to institutionalization? »
**Interview with Jean Chaize: Exploring the Spirit of the Volksbühne**
**Editor:** Welcome, Jean Chaize! It’s great to have you here as we delve into the vibrant history and unique artistic spirit of the Volksbühne. You’ve had quite a journey with this iconic theater. Can you start by sharing what the Volksbühne means to you personally and artistically?
**Jean Chaize:** Thank you for having me! The Volksbühne holds a special place in my heart. It’s a space where creative boundaries are pushed, where artists can truly experiment. The blend of avant-garde, emotional depth, and sheer mystique makes it a captivating stage for both performers and audiences. For me, it embodies the essence of counter-culture, challenging societal norms and inspiring a sense of rebellion through art.
**Editor:** Frank Castorf certainly left a remarkable legacy during his time as director. How would you describe his influence on the Volksbühne and its artistic direction?
**Jean Chaize:** Castorf’s influence was like a whirlwind! He brought an uncompromising vision that transformed the theater into a platform for radical thought and artistic innovation. His productions often left audiences in awe, provoking critical conversations about society, politics, and identity. He didn’t shy away from controversial themes, and that’s what made his era both exciting and polarizing.
**Editor:** With the recent passing of René Pollesch, how do you think his vision compares or contrasts with Castorf’s?
**Jean Chaize:** René was undoubtedly a unique voice in his own right. He was known for his innovative narratives and his ability to blend personal and political themes seamlessly. While Castorf pushed the envelope in terms of spectacle and shock value, Pollesch had a knack for layering humor and absurdity with profound philosophical questions. Both directors have enriched the Volksbühne in different ways, but they share a lineage of challenging the audience to think critically.
**Editor:** The upcoming study day seems to be a fantastic platform to explore these themes further. What do you hope attendees will take away from it?
**Jean Chaize:** I hope participants leave with a deeper understanding of the Volksbühne’s role in shaping contemporary theater. The discussions will highlight the artistic identities formed over the years while also addressing the gaps in scholarship, particularly regarding its international impact. I believe it’s essential to acknowledge the complexity and richness of this theater’s past, as it will inform the future of avant-garde performance.
**Editor:** for those who may not be familiar with the Volksbühne, what would you say to entice them to attend this event?
**Jean Chaize:** If you have a passion for theater that challenges the status quo and ignites thought-provoking conversations, this event is unmissable! It’s an opportunity to engage with experts, share insights, and immerse yourself in a scene that’s as chaotic as it is beautiful. Plus, you never know what kind of surprising performances or revelations may unfold – it’s the essence of the Volksbühne!
**Editor:** Thank you, Jean! Your insights have certainly captured the essence of what makes the Volksbühne so special. We look forward to the study day and the illuminating discussions that will take place.
**Jean Chaize:** Thank you! I’m excited to share in this exploration of one of the most interesting theaters in the world. See you there!
