Amateur Theatre Wiki - User contributions [en]

Das Südspiel

2026-03-04T13:08:46Z

Meike Wagner: new entry

Bringing together several earlier theatre activities involving amateur performers, [https://suedspiel.de Südspiel] is a theatre association located in Neubiberg, near Munich. they perform some classical plays such as Stringberg's "Dreamplay" but also devise their own musical productions. They perform at different venues in the Southern suburbs of Munich and also tour their productions.

== History ==
Profiting from earlier performance experience of members, Südspiel was founded as a theater association ("gemeinnütziger Verein") in 2019. They had their first performance "Tot-sicher!?" ("Deadly certain!?") in 2019 at [https://www.feierwerk.de Feierwerk], a non-profit organization providing a venue for new art, music and culture. They started their own YouTube channel during the Covid-19 pandemicand streamed performances, but went live again in 2022.

== Repertoire ==

Heiglhoftheater

2026-03-04T12:15:31Z

Meike Wagner: Added link

Originally founded by a student group in 2012, [https://www.heiglhoftheater.de Heiglhoftheater] is today open to all who have an interest in amateur performance. A core group of approximately ten people expands to larger groups for specific productions. They usually produce two shows per year. Every member can propose a theatre play for production and if they reach consent from the membership they will act as directors of their particular proposal. Rehearsals are twice a week. Parts of their tickets sales are donated to charitable causes.

== History ==
In 1995, fourteen students living in the student residence located at Heiglhofstraße, in the one of Munich's Southern suburbs (Großhadern) founded a theatre group. On 22 June 1995 they staged their first performance ("Loriots dramatische Werke", "Loriot's Dramatic Works") in the premises of the student residence. Until 2012 this was their usual theatre venue, today they perform in Pasinger Fabrik and Einstein Kulturforum two established stages for cabaret and smaller professional performances.

== Repertoire ==
Their repertoire stretches from tragedy to boulevard comedy, from classics to modern popular play. Over the years they have performed the following plays.

* Loriot: Loriot’s dramatische Werke, 1995
* Joseph Kesselring: Arsen und Spitzenhäubchen, 1996
* Michael Frayne: Der nachte Wahnsinn, 1996
* Eugène Ionesco: Die Nashörner, 1997
* Sir Peter Ustinov: Endspurt, 1997
* Michael Cooney: Und ewig rauschen die Gelder, 1998
* Kathrin Schrocke: Die Geschmacklosigkeiten, 1998
* Friedrich Dürrenmatt: Die Panne, 1998
* Agatha Christie: Zehn kleine Negerlein, 1998
* Patrick Süßkind: Der Kontrabass, 1999
* Jean-Paul Sartre: Geschlossene Gesellschaft, 1999
* Alan Aychbourn: Schöne Bescherung, 1999
* Terry Pratchett: Mort, 2000
* Peter Shaffer: Komödie im Dunkeln, 2000
* Ernst Lubisch: Sein oder Nichtsein, 2001
* Molière: Der Menschenfeind, 2002
* Fernando Arrabal: Picknick im Felde & Slawomir Mrozek Auf hoher See, 2003
* Doris Dörrie: Nackt, 2004
* Oscar Wilde: Bunbury, 2005
* William Shakespeare: Der Sturm, 2005
* Alan Ayckbourn: Schlafzimmergäste, 2006
* N. Richard Nash: Der Regenmacher, 2006
* Thomas Vinterberg and Mogens Rukov: Das Fest, 2007
* Ephraim Kishon: Der Trauschein, 2007
* Alan Ayckbourn: Einer für Alles, 2008
* Friedrich Dürrenmatt: Die Physiker, 2008
* Nina Mitrovic: Das Bett ist zu kurz, 2009
* C.B. Gilford: Porzellanfraktur, 2009
* Petr Zelenka: Schrottengel, 2010
* Agatha Christie: Das Urteil, 2010
* Woody Allen: Bullets over Broadway, 2011
* Tena Štivičić: Funkenflug, 2011
* Bertolt Brecht: Das Leben des Galilei, 2012
* Francis Verber: Dinner für Spinner, 2012
* Pavel Kohout: So eine Liebe, 2013
* Nikolai Gogol Die Heirat, 2014
* Ingrid Lausund: Zuhause, 2015
* Vinko Möderndorfer: Drei Schwestern, 2015
* Hansjörg Schertenleib: Radio Kashmir, 2016
* Manfred Brida: Herzlich Willkommen, 2016
* Carlo Goldoni: Der Krieg, 2017
* Alec Coppel: Der Pavillon, 2017
* Marius Leutenegger: Aperitif mit dem Teufel, 2018
* Jules Verne: 20.000 Meilen unter dem Meer, 2018
* Alan Ayckbourn: Konfusionen, 2019
* David Auburn: Der Beweis, 2019
* Woody Allen: Hannah und ihre Schwestern, 2020
* Mit Abstand … komisch. Sketche von Kishon, Polt u.a., 2020
* Ingrid Lausund: Bin Nebenan, 2021
* Pavel Kohout: Krieg im 3. Stock, 2022
* Jean-Paul Alègre: Bretter, die die Welt bedeuten, 2022
* Henrik Ibsen: Ein Volksfeind, 2023
* Bernhard Studlar: Lohn der Nacht, 2023
* Robert Thomas: Acht Frauen, 2024
* Woody Allen: Geliebte Aphrodite, 2024
* Roland Schimmelpfennig: Das Reich der Tiere, 2025
* Rebekka Kricheldorf: Das Waldhaus, 2025

Heiglhoftheater

2026-03-04T12:14:30Z

Meike Wagner: New entry

Originally founded by a student group in 2012, Heiglhoftheater is today open to all who have an interest in amateur performance. A core group of approximately ten people expands to larger groups for specific productions. They usually produce two shows per year. Every member can propose a theatre play for production and if they reach consent from the membership they will act as directors of their particular proposal. Rehearsals are twice a week. Parts of their tickets sales are donated to charitable causes.

== History ==
In 1995, fourteen students living in the student residence located at Heiglhofstraße, in the one of Munich's Southern suburbs (Großhadern) founded a theatre group. On 22 June 1995 they staged their first performance ("Loriots dramatische Werke", "Loriot's Dramatic Works") in the premises of the student residence. Until 2012 this was their usual theatre venue, today they perform in Pasinger Fabrik and Einstein Kulturforum two established stages for cabaret and smaller professional performances.

== Repertoire ==
Their repertoire stretches from tragedy to boulevard comedy, from classics to modern popular play. Over the years they have performed the following plays.

* Loriot: Loriot’s dramatische Werke, 1995
* Joseph Kesselring: Arsen und Spitzenhäubchen, 1996
* Michael Frayne: Der nachte Wahnsinn, 1996
* Eugène Ionesco: Die Nashörner, 1997
* Sir Peter Ustinov: Endspurt, 1997
* Michael Cooney: Und ewig rauschen die Gelder, 1998
* Kathrin Schrocke: Die Geschmacklosigkeiten, 1998
* Friedrich Dürrenmatt: Die Panne, 1998
* Agatha Christie: Zehn kleine Negerlein, 1998
* Patrick Süßkind: Der Kontrabass, 1999
* Jean-Paul Sartre: Geschlossene Gesellschaft, 1999
* Alan Aychbourn: Schöne Bescherung, 1999
* Terry Pratchett: Mort, 2000
* Peter Shaffer: Komödie im Dunkeln, 2000
* Ernst Lubisch: Sein oder Nichtsein, 2001
* Molière: Der Menschenfeind, 2002
* Fernando Arrabal: Picknick im Felde & Slawomir Mrozek Auf hoher See, 2003
* Doris Dörrie: Nackt, 2004
* Oscar Wilde: Bunbury, 2005
* William Shakespeare: Der Sturm, 2005
* Alan Ayckbourn: Schlafzimmergäste, 2006
* N. Richard Nash: Der Regenmacher, 2006
* Thomas Vinterberg and Mogens Rukov: Das Fest, 2007
* Ephraim Kishon: Der Trauschein, 2007
* Alan Ayckbourn: Einer für Alles, 2008
* Friedrich Dürrenmatt: Die Physiker, 2008
* Nina Mitrovic: Das Bett ist zu kurz, 2009
* C.B. Gilford: Porzellanfraktur, 2009
* Petr Zelenka: Schrottengel, 2010
* Agatha Christie: Das Urteil, 2010
* Woody Allen: Bullets over Broadway, 2011
* Tena Štivičić: Funkenflug, 2011
* Bertolt Brecht: Das Leben des Galilei, 2012
* Francis Verber: Dinner für Spinner, 2012
* Pavel Kohout: So eine Liebe, 2013
* Nikolai Gogol Die Heirat, 2014
* Ingrid Lausund: Zuhause, 2015
* Vinko Möderndorfer: Drei Schwestern, 2015
* Hansjörg Schertenleib: Radio Kashmir, 2016
* Manfred Brida: Herzlich Willkommen, 2016
* Carlo Goldoni: Der Krieg, 2017
* Alec Coppel: Der Pavillon, 2017
* Marius Leutenegger: Aperitif mit dem Teufel, 2018
* Jules Verne: 20.000 Meilen unter dem Meer, 2018
* Alan Ayckbourn: Konfusionen, 2019
* David Auburn: Der Beweis, 2019
* Woody Allen: Hannah und ihre Schwestern, 2020
* Mit Abstand … komisch. Sketche von Kishon, Polt u.a., 2020
* Ingrid Lausund: Bin Nebenan, 2021
* Pavel Kohout: Krieg im 3. Stock, 2022
* Jean-Paul Alègre: Bretter, die die Welt bedeuten, 2022
* Henrik Ibsen: Ein Volksfeind, 2023
* Bernhard Studlar: Lohn der Nacht, 2023
* Robert Thomas: Acht Frauen, 2024
* Woody Allen: Geliebte Aphrodite, 2024
* Roland Schimmelpfennig: Das Reich der Tiere, 2025
* Rebekka Kricheldorf: Das Waldhaus, 2025

Statt Theater Vegesack

2025-09-23T10:55:53Z

Meike Wagner:

[[File:207106 178732145510280 2162243 n.jpg|thumb|Logo ]]
[https://statt-theater-vegesack.de Statt Theater Vegesack] is a theatre association that is named after the suburb of Vegesack in the Norther part of Bremen. The amateurs annually produce three to five plays. Their theatre performance and social events bring together the community of Vegesack. More so promoting young talent is a top priority at Statt-Theater Vegesack. Numerous active amateur actors have been trained by the Statt-Theater junior ensemble.

== History ==
In 1989, Max Wölfl founded the Statt-Theater Vegesack with Gerd Linke and other theatre enthusiasts from Bremen North. The aim of this non-profit association is to continuously offer challenging theatre plays for their community. The theatre association receives no public funding and is financed exclusively by membership fees, entrance fees and donations.With more than 100 theatre productions since its foundation, the association has significantly enriched the cultural landscape of Bremen-North. Over 95,000 spectators have attended the productions to date.

== Venues ==

* Kulturbahnhof Vegesack
* Stages of the Gustav-Heinemann Bürgerhaus in Bremen-Vegesack
* Top floor of Stadtkirche Vegesack
* Theatre at Jacobs University
* Kito
* Schlachthof
* Hamme Forum.

== Repertoire ==
The repertoire is diverse: classics, modern plays, comedies, revues, thrillers, dramas, experimental theatre and in-house productions. No theatre genre is excluded by the theatre makers. Productions are usually performed for four weeks.

1989/1990

* Bezahlt wird nicht (Dario Fo)
* Knasterbax und Siebenschütz (Werner Schrader / Heinz Lemmermann)
* Tango (Slavomir Mrozek)
* Wirst du mich auch morgen früh noch lieben? (Brian Clemens / Dennis Spooner)
* Der neue Mieter (Eugene Ionesco)
* Daphnis und Chloe (Longos)

1990/1991Die Räuber (Friedrich Schiller)

* Kalldewey-Farce (Botho Strauß)
* Schabernackel (Werner Schrader / Heinz Lemmermann)
* Baal (Bertolt Brecht)
* Geh zum Teufel, mein Engel (Brian Clemens / Dennis Spooner)
* Mit Tinte, Rotwein und Odol (Kurt Tucholsky)

1991/1992

* Frühlings Erwachen (Frank Wedekind)
* Woyzeck (Georg Büchner)
* In Schinkenbüttel ist der Affe los (Werner Schrader / Heinz Lemmermann)
* Vorsicht, Trinkwasser (Woody Allen)
* Dracula (Max Wölfl / R. Gresse)
* Wer hat Angst vor Virginia Woolf (Edward Albee)

1992/93

* Kissing God (Phil Young)
* Knasterbax und Siebenschütz (Werner Schrader / Heinz Lemmermann)
* Die Verfolgung und Ermordung Jean Paul Marats… (Peter Weiss)
* Lysistrata (Aristophanes)

1993/94

* Die Eule und das Kätzchen (Wilton Manhoff)
* Der Zauberer von Oz (Frank L. Baum)
* Der zerbrochene Krug (Heinrich von Kleist)

1994/95

* Hase Hase (Coline Serreau)
* Oh, wie schön ist Panama (Janosch)
* Die Schöne und der Schelm (Anonymus)

1995/96

* Gerettet (Edward Bond)
* Die Hexe Backa Racka (Werner Schrader / Heinz Lemmermann)
* Happy Birthday, Wanda June (Kurt Vonnegut)
* Die Weibervolksversammlung (Aristophanes)

1996/97

* Seh’n Se, das is Berlin… (Gerd Linke / Max Wölfl)
* Hänsel und Gretel (nach den Brüdern Grimm)
* Genoveva oder Die weiße Hirschkuh (Julie Schrader)

1997/98

* Auf die Plätze, fertig… love (Derek Benfield)
* Pippi Langstrumpf (Astrid Lindgren)
* Medea-Collage (Christa Präger / Max Wölfl)
* Die Physiker (Friedrich Dürrenmatt)

1998/1999

* An einem Ort wie Vegesack… (Max Wölfl / Rainer Wendelken)
* Der kleine Vampir (nach Angela Sommer-Bodenburg)
* Misery (Stephen King)

1999/2000

* Eine Woche voller Samstage (Paul Maar)
* Bezahlt wird nicht (Dario Fo)
* Fette Männer im Rock (Nicky Silver)

2000/01

* Berlin, ach Berlin (Gerd Linke / Max Wölfl)
* Die Schöne und das Biest (französisches Volksmärchen)
* Was ihr wollt (William Shakespeare)

2001/02

* Der nackte Wahnsinn (Michael Frayn)
* Der eingebildete Kranke (Moliere)
* Rumpelstilzchen (nach den Brüdern Grimm)

2002/03

* Die Mausefalle (Agatha Christie)
* Jim Knopf und Lukas der Lokomotivführer (Michael Ende)
* Dracula (Max Wölfl/Rainer Wendelken)

2003/04

* Ein gemütliches Wochenende (Jean Stuart)
* Der Mäusesherriff (Janosch)
* Geschlossene Gesellschaft (Jean-Paul Sartre)
* Dirty Dishes (Nick Whitby)

2004/05

* Der gestiefelte Kater (Brüder Grimm)
* Die Glasmenagerie (Tennessee Williams)
* Bunbury (Oscar Wilde)
* Drei Mal Leben (Yasmina Reza)

2005/06

* Der Drache Gertrud (Ralf Isau)
* Acht Frauen (Robert Thomas)

2006/07

* Der Geizige (Molière)
* Der kleine Muck (Wilhelm Hauff)
* Der Tod und das Mädchen (Ariel Dorfman)
* Cheek to Cheek (Jonas Gardell)

2007/08

* Komödie im Dunkeln (Peter Shaffer)
* Urmel aus dem Eis (Max Kruse)
* Nora (Henrik Ibsen)
* Jeder kann es gewesen sein (Alan Ayckbourn)

2008/09

* Außer Kontrolle (Ray Cooney)
* Prinzessin Rosenblüte oder Die Prinzessin auf dem Fahrradständer (Kirsten Boie)
* Hexenjagd (Arthur Miller)

2009/10

* Mittsommernachts-SEX-Komödie (Woody Allan)
* Die Chinesische Nachtigall (nach Hans Christian Andersen)
* König Ödipus (Sophokles)
* Offene Zweierbeziehung (Dario Fo / Franca Rame)

2010/11

* Funkenflug (Tena Stivicic)
* Der Lebkuchenmann (David Wood)
* Nabelschnüre (Michael McKeever)
* Humberrie (Ronald Rudoll)

2011/12

* Viel Lärm um nichts (William Shakespeare)
* Der Froschkönig (Ute Schimmler nach den Brüdern Grimm)
* Ein Irischer Abend: Glückliche Tage (Samuel Beckett) + Das Ende vom Anfang (Sean O’Casey)
* Bär sucht Frau: Der Bär und Der Heiratsantrag (Anton Tschechow)
* Knock oder Der Triumph der Medizin (Jules Romains)

2012/13

* Mrs. Dot oder Lieber reich und glücklich (William Somerset Maugham)
* Rumpelstilzchen (Ute Schimmler nach den Brüdern Grimm)
* Der Sandmann (E.T.A. Hoffmann
* Frau Müller muss weg (Lutz Hübner)

2013/14

* In Zungen reden (Andrew Bovell)
* Der Zauberer von Oz (Dirk Böhling und Alexander Seemann nach Lyman Frank Baum)
* Zieh‘ den Stecker raus, das Wasser kocht (Ephraim Kishon)
* Peer Gynt (Henrik Ibsen) (25th Anniversary)

2014/15

* Gretchen 89 ff. (Lutz Hübner)
* In Zungen reden (Andrew Bovell)
* An der Arche um acht (Ulrich Hub)
* Fisch zu viert (Wolfgang Kohlhaase und Rita Zimmer)
* Lesen swingt (diverse Autoren)
* Die Spielverderber oder das Erbe der Narren (Michael Ende)

2015/16

* Fisch zu viert (Wolfgang Kohlhaase und Rita Zimmer)
* Hysterikon (Ingrid Lausund)
* Der Vorname (Matthieu Delaporte und Alexandre de la Patellière)
* Gut gebrüllt, Löwe (Max Kruse)
* Gretchen 89 ff. (Lutz Hübner)
* Bär sucht Frau: Der Bär und Der Heiratsantrag (Anton Tschechow)
* Der Kaufmann von Venedig (William Shakespeare)

2016/17

* Normans Eroberungen – Trautes Heim (Alan Ayckbourn)
* Ein Huhn haut ab (Wolfram Hänel)
* Der Vorname (Matthieu Delaporte und Alexandre de la Patellière)
* Bär sucht Frau: Der Bär und Der Heiratsantrag (Anton Tschechow)
* Homo empathicus (Rebekka Kricheldorf)
* Beautiful Bodies (Laura Cunningham)

2017/18

* Job Suey (Edward Taylor)
* Helges Leben (Sibylle Berg)
* Eine Woche voller Samstage (Paul Maar)
* Passagier 23 (Sebastian Fitzek)

2018/19

* Zorn (Joanna Murray-Smith)
* Urmel aus dem Eis (Max Kruse)
* Passagier 23 (Sebastian Fitzek)
* Ein Sommernachtstraum (William Shakespeare)

2019/20

* Murder by Sex (Joan Shirley)
* Dr. Dolittle (Hugh Loftin / Dirk Böhling)
* Überraschungsbesuche: Separatfrieden (Tom Stoppard) und Dann kam Oma (Ubbo und Mareike Gerdes)

2021/22

* Herbstlese (versch. Autoren und Lesende)
* Frau Holle
* Gott des Gemetzels (Yasmina Reza)
* Walking Act (400th Birthday of the Harbour)

2022/23

* In der Haifischbar (400th Birthday of the Harbour)
* Gott des Gemetzels (Yasmina Reza)
* Der Lebkuchenmann (music by David Wood)
* Ringelnatz-Abend (Andrea Eldagsen)
* Heiteres & Besinnliches (versch. Autoren und Lesende)
* Acht Frauen (Robert Thomas)
* Ein gemütliches Wochenende (Jean Stuart)

2023/24

* In der Haifischbar (400th Birthday of the Harbour)
* Pinocchio (Carlo Collodi)
* Die Firma dankt (Lutz Hübner)
* Das indische Tuch (Edgar Wallace)
* Das Dschungelbuch (Rudyard Kipling)

2024/25

* Purgatorio (Ariel Dorfman)
* Mein Freund Harvey (Mary Chase)

== Awards ==

* 1997: Vegesack Culture Prize by the Community Council

== Links ==
Facebook: https://www.facebook.com/people/Statt-Theater-Vegesack-e-V/100057287657144/

News Articles:

* https://spot-bremen.de/magazin/tipps/statt-theater-vegesack/
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/dschungelbuch-in-vegesack-statt-theater-begeistert-mit-premiere-doc7ybnc9ew9s3h0j1socb
* https://spot-bremen.de/events/statt-theater-vegesack-purgatorio/
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/vegesacker-geschichtenhaus-schliesst-statt-theater-verliert-buehne-doc7w80amy07uvvat5qoo9
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/die-firma-dankt-statt-theater-vegesack-spielt-satirisches-stueck-doc7v4xyc3uj9s1ghhxfdcd
* https://weserreport.de/2018/05/bremen-bremen/stadtteile/nord/statt-theater-vegesack-sucht-eine-feste-spielstaette/
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/vegesack-statt-theater-bildet-erfolgreich-nachwuchs-aus-doc7w90xaz8x1f1awm43b8l
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/statt-theater-vegesack-gelungene-premiere-eines-klassikers-doc7pey88t49fm8i4r41p1
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/vegesack-statt-theater-spielt-kinderstueck-der-lebkuchenmann-doc7nmloqr53gy1n4j96f72
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/vegesack-statt-theater-bringt-ringelnatz-gedichte-auf-die-buehne-doc7oct6kzlf1z1uj34ctx
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/statt-theater-vegesack-spielt-der-gott-des-gemetzels-doc7k3tmv42ez718yx2fh2l

Nautch

2025-09-23T10:54:48Z

Meike Wagner:

The ''nautch'' (/ˈnɔːtʃ/, from the Hindustani ''naach'', meaning "dance") was a form of popular court and royal entertainment in colonial India, performed by women known as ''nautch girls''. The term "nautch" is an anglicized version of the Hindustani word ''nach'' (dance), introduced through British colonial contact with Indian elites, during the early 19th century.[https://archive.org/details/donors-devotees-and-daughters-of-god-leslie-c-orr]<ref>https://archive.org/details/donors-devotees-and-daughters-of-god-leslie-c-orr</ref>

Originally a prestigious art form, the nautch was prominent in royal courts, palaces of nawabs, and among high-ranking British officials. Over time, it extended to zamindari households as well. However, under the British Raj, changing moral standards—especially Victorian notions of propriety—led to the stigmatization of the nautch. Once seen as refined entertainers, nautch girls were increasingly viewed as immoral, resulting in the loss of patronage and, in many cases, a forced drift toward prostitution, particularly as British men began marrying women from Britain rather than keeping Indian mistresses. By the early 20th century, to describe a woman as a "nautch girl" implied a captivating presence marked by beauty, skill, and an alluring style that could command male attention.

== History ==
A specific community of women performed exclusive ritual dances in temples, processions and festivities. The women were trained by male masters who were also their accompanying instrumentalists. As a social occupational group this community held elaborate ceremonies for initiating girls into dance training and inducting them into the profession. They commanded prestige and privilege, received land grants from temple administration, and lived matrilenially.[https://archive.org/details/nityasumangalide0000kers]

With the advent of the Mughal empire and the British colony, the dance developed into as courtly art and amateur theatre. Nautch performances were regular features of royal ''durbars'' (courts) and private gatherings. Dancers were sometimes even part of royal entourages, including during military campaigns. Events often featured a full ''nautch party'', including musicians and multiple dancers, with the number and style of performers reflecting the host's social status. A reception for the Prince of Wales in 1876 included a grand nautch at the railway station in the South Indian province Madras.

Munich Feminist Project

2025-09-23T10:53:02Z

Meike Wagner:

The Munich Feminist Project (MFP) is a feminist theatre collective based in Munich, Germany. It was founded in 2017 by Emma Filer and Sophia Gonzalez, following the 2016 United States presidential election.

The group first performed ''Rise Up: Feminist Voices Trump Hate'' at ''EineWeltHaus'' in Munich, where participants presented autobiographical monologues on experiences such as abortion, sexual assault, and everyday sexism. The event, initially intended as a one-off, led to the establishment of a collective that has since grown to around twenty members.

MFP produces performances that combine personal testimony with feminist perspectives. Works include ''The Things We Say'' at Einstein-Kultur, addressing microaggressions; ''Reframing — A Night of Untold Stories'', which retold canonical narratives from a feminist angle; and ''Past the Noise'' at Pepper Theater, which returned to the format of collaboratively written monologues.

In addition to theatre, the group runs fundraising events, collaborates with local organizations, and participates in civic and educational initiatives. It works without regular funding or fixed rehearsal spaces, relying on small-scale events, volunteer labor, and informal networks.

Bombastes Furioso

2025-09-23T10:49:43Z

Meike Wagner:

''Bombastes Furioso'', subtitled ''A Burlesque Tragic Opera'', was written in 1810 by William Barnes Rhodes (sometimes credited as Thomas Barnes Rhodes). The first authorized printed edition was published in 1822. It is a drama with comic songs, that satirizes the bombastic style of other tragedies that were in fashion at the time.

It was very popular throughout the 19th century—its popularity was sufficient for two quotations to appear in ''Bartlett's Familiar Quotations'', and for Lewis Carroll to refer to it in his poem "Melancholetta".

The part of Bombastes was first played by Richard John Smith.

== Characters ==

* Artaxaminous – King of Utopia
* Fusbos – Minister of State
* Bombastes – general of Artaxaminous
* Distaffina – troth-plight (fiancé) of General Bombastes

== Plot ==
King Artaxaminous wishes to divorce his wife Griskinissa, and marry Distaffina. Distaffina, however, is betrothed to General Bombastes. Artaxaminous promises Distaffina "half a crown" if she will forsake the general for him. Distaffina is unable to resist, and abandons Bombastes. When the general learns of this, he goes mad, hangs his boots on the branch of a tree, and challenges anyone who would remove them. Artaxaminous cuts the boots down, and the general kills him. Fusbos, coming upon this, kills Bombastes. At the end of the drama, the dead men jump up and promise "to die again tomorrow", if the audience desires it.

== Notes ==
The story of ''Bombastes Furioso'' is based in part on ''Orlando Furioso''.

The sign that Bombastes places on the tree with his boots reads:

: Who dares this pair of boots displace,
: Must meet Bombastes face to face.

According to Bartlett, this is a reference to a quote from Don Quixote:

: Let none but he these arms displace,
: Who dares Orlando's fury face.

(This itself is a reference to Orlando Furioso.)

== References ==

* Bartlett, John. ''Familiar Quotations''. Boston: Little, Brown, and Company, 1919.
* Brewer, E. Cobham, Rev., LL.D. ''Character Sketches of Romance, Fiction and the Drama, Vol 1''. New York, 1892.

Det forenede dramatiske Selskab

2025-09-23T10:47:39Z

Meike Wagner:

''Det forenede dramatiske Selskab'' (The United Dramatic Society) was a dramatic society founded in 1803 in Trondheim, Norway. Its members consisted mainly of civil servants, higher officers and merchants. The Society was active until 1829.

== History ==
The first public reference to the United Dramatic Society was a newspaper advertisement on November 1st 1803, calling the members to a General Assembly. The Society's laws were then printed in 1804. Only men were eligible for membership, and new members had to be proposed and approved individually. Women could only participate by invitation. For the first few years, the Society's performances were, as a general rule, only open to other society members. As a result, the repertory of this period is largely unknown.

The first known venue for the United Dramatic Society was a rented town house in ''Prinsens gate'' (Prince's Street), formerly the property of town musician Johan Daniel Berlin (1714–1787), who had given public concerts there. Today, this site houses the restaurant area of the municipal theatre, ''Trøndelag Teater''. The Society bought the property in 1811, but possibly as a result of hard times after the outbreak of war between Denmark-Norway and England in 1807, no further steps towards building a new theatre were made at the time. In the war years, the Society occasionally gave public benefit performances.

In 1814, as the Napoleonic wars were coming to an end, the United Dramatic Society took the initative to fund a new theatre building. In the interim that followed, the Society was reorganized, and a new set of laws printed. A major change from the first set of laws, was that women were now eligible as full members.

In 1816, the new theatre was inaugurated. This stage, now enclosed by a larger building, remains Norway's oldest theatrical stage (''Gamle Scene''). In spite of several later redecorations and changes, it still boasts its original raked stage and double set of proscenium columns.

After 1816, the Society's performances were adverticed publicly, with the result that the repertory is better known. In general, the repertory much reflects that of other Scandinavian and European theatres at the time, with the bourgeois dramas and comedies of August von Kotzebue and August Iffland gradually giving way to the new generation of Continental, Romantic dramatists. The only Danish-Norwegian dramatist continuously performed throughout the 19th century, was the Molière-inspired Ludvig Holberg (1684–1754).

In 1829, The United Dramatic Society was dissolved, as were several other dramatic societies in Norway in this period. For the next few decenniums, professional touring Danish theatre companies were important in giving new life to the theatre in Trondheim, as well as in other Norwegian towns.

== References ==
Liv Jensson: ''Teaterliv i Trondhjem, 1800-1835: De dramatiske selskapene''. Oslo: Gyldendal, 1965

Annabella Skagen: Fra grevens gård til Prinsens gate: Teater i Trondhjem 1790-1814. Ph.d. thesis, NTNU 2015.

Busy Bees

2025-09-23T10:46:09Z

Meike Wagner:

The Busy Bees were an amateur theatre society set up in the 1880s in London.

The paper programmes for the Busy Bees have a cover design which includes three hives representing 'Drama', 'Music', and 'Recitations'. The society's President was Hermann Vezin, the American who had success on the British stage as an actor but became better known as a teacher of elocution. On the reverse of the programmes was a note that 'the Busy Bees are happy to play for Charities', and all communications about this, as well as about membership, should be directed to the Hon. Secretary.

== History ==
On 10 November 1885 the society performed ''School'' by T. W. Robertson. Robertson's plays were popular with amateur societies. The performance took place at [[St George's Hall]], Langham Place, which was a popular venue with amateur groups.

A newspaper article on 12 May 1888, discussing their latest production, ''Moths,'' explains how the society 'has given to the stage several of our most promising young actors and actresses'. They referred to their gatherings as 'swarms'. For this event the society had secured the services of a professional actress, Miss Houlison, and 'everything had been done by Mrs. Lennox Browne, the popular president, to show the earnestness, the industry, and the good taste of the association'. This female leadership role, which actually was the Hon. Secretary, is significant, as many other societies and clubs of the period had their leadership dominated by men. Her husband, Lennox Browne, was a voice expert and wrote books including ''Science and Singing'' (1884) and ''Voice, Song and Speech: A Practical Guide for Singers and Speakers from the Combined View of Vocal Surgeon and Voice Trainer'' (1887).

An article in ''The Queen; The Lady's Newspaper'' in 1889 explains how by this time the Busy Bees had been disbanded and Hilda Abinger, who had been a member, instead joined the [[Strolling Players]]. Hilda went on to become a professional actress. The article also tells us that 'Miss Maude Millett, Miss Edith Chester, and Miss Olga Nethersole all emerged from the kindly shelter of the hive to take distinguished places on the London boards'.

[[Category:Clubs, Societies and Institutions]]
[[Category:Britain]]

As Sete Vidas da Argila

2025-09-23T10:42:51Z

Meike Wagner: Translation to English, re-structuring, layout

''As Sete Vidas da Argila'' (The Seven Lives of Clay) was an artistic intervention project in Aveiro, consisting of a theater performance (premiered on September 23, 2021, Teatro Aveirense, re-performed in July 2022, Claustros da Misericórdia de Aveiro, January 2024, Fábrica Campos) and a documentary (premiered on September 25, 2022). The project was artistically directed by Jorge Louraço Figueira and performed by professional and amateur artists. The production was by Teatro Aveirense, under the direction of José Pina, and the creation also involved the collaboration of Red Cloud, a puppet theater group based in Aveiro, founded by Sara Henriques and Rui Rodrigues.

[[File:©JoanaMagalhaes TA vidasargila ensaio-33-scaled.jpg|alt=© Joana Magalhães / Teatro Aveirense|left|thumb|600x600px|Clorinda Boca-de-Barro.]]

== The Play ==
The play begins on the anniversary of the (fictional) oldest ceramics factory in the Ria de Aveiro region, founded at the end of the last century (or, in fact, the other). The siren mingles with the bells, and finally the workers arrive to help with the preparations for the party; soon after, the guests. The host, however, is stranded in the workshops due to a late order, along with his main assistants, including the indispensable selector Clorinda Boca-de-Barro. Well, actually, at that time, Clorinda wasn't yet called Boca-de-Barro. What happened next—and how Clorinda earned her nickname—is what we'll see in the show.

The experiences of those who bring the region's ceramics factories to life are the raw material for the documentary "The Seven Lives of Clay—Voices and Portraits of the Ria Ceramics Factories," airing on November 23rd. To create the theater show, research was carried out in the Ria de Aveiro region, accompanied by the recording of testimonies, images and sounds from the world of clay, mud and pottery, materials that gave rise to a journey through time with sound by Sofia Saldanha and images by João Garcia Neto.[[File:As sete vidas da argila como boca de barro ganhou o seu apelido img613f0d5622474.jpg|thumb|600x600px|O Coro das Trabalhadoras da Fábrica Aveiro mostra o serviço.]]
The play is set on the anniversary of the biggest factory in the region. Many scenes and situations were inspired in stories told by the actresses. The project promoted local cultural heritage and community arts, two subjects in the agenda of the city council, as they supposedly coincide with voters concerns. For many of the participants, rehearsals and presentations were an opportunity to comment on local politics and present their views to a broader audience. Important points, woven into the text during rehearsals, were gender inequalities, exploitation and abuse, mostly in work contexts, either historically or presently. This in a context where, on one hand, historic amateur groups across the country share a repertoire of conservative comedies; and, on the other, people abstain from discussing political subjects openly, because local elites control a big part of employment and business opportunities. Is amateur theatre still an arena for political debate, as it had been after the 1974 revolution and, even previously, since the late 19th century? I’ll argue yes, and how.
[[File:03 capa As Sete Vidas Argila.png|thumb|A capa do livro.]]
[[File:As sete vidas da argila vozes e retratos das fabricas de ceramica da ria documentario img62f13c948c6ac.jpg|thumb|O mestre Felica na sua olaria.]]

== The Documentary ==
The Seven Lives of Clay: Voices and Portraits of the Ria Ceramics Factories (46 min.)

The experiences of those who bring life to the ceramics factories of the Aveiro region are the raw material for this documentary, which accompanied the research for the play "How Boca-de-Barro Earned its Nickname" through the recording of testimonies, images, and sounds from the world of clay, earthenware, and pottery.

* Director and Sound: Sofia Saldanha
* Image: João Garcia Neto
* Production Director: Amarílis Felizes
* Artistic Director of the Project "The Seven Lives of Clay": Jorge Louraço Figueira
* Production: Teatro Aveirense

== References ==
<ref>As Sete Vidas da Argila, Edições Humus, 2022</ref>

Amateur Theatre in Australia

2025-09-23T10:25:52Z

Meike Wagner:

== History ==
Amateur theatre in Australia began almost at the same time as European invaders settled in Australia. The [[wikipedia:First_Fleet|First Fleet]], carrying British military and convicts sentenced to transportation arrived in January 1788 at Port Jackson (now Sydney) on the east coast of Australia. Within eighteenth months, the convicts had put on a performance of George Farquhar’s ''The Recruiting Officer'' to celebrate the King's birthday on 4th June 1789. Convicts and soldiers, sailors, officers and their wives joined in this reassuring spectacle of English culture, reproduced in improvised circumstances by amateurs.

Robert Jordan has written about this in[https://www.amazon.co.uk/Convict-Theatres-Early-Australia-1788-1840/dp/1902806255 ''The Convict Theatres of Early Australia, 1788-1840'' (]Currency Press, 2003) and Kathleen Wilson has remarked, in ''[https://www.amazon.com/Strolling-Players-Empire-Performances-Perspectives/dp/1108479782 Strolling Players of Empire: theater and performances of power in the British imperial provinces,] 1656-1833'', (2024) wherever the British went, they put on a play. Australian novelist, Thomas Keneally, imagined the making of this performance in his novel, ''[[wikipedia:The_Playmaker_(novel)|The Playmaker]]'' (1987), which was adapted by British playwright, Timberlake Wertenbaker as the play, [[wikipedia:Our_Country's_Good|Our Country's Good]] (1988).

[[wikipedia:Category:Amateur_theatre_companies_in_Australia|Amateur theatre in Australia]] was important in reproducing European culture and society in the early colony, and remains a force in community involvement with the performing and creative arts.

Amateur Theatre in Australia

2025-09-23T10:22:27Z

Meike Wagner:

== History ==
Amateur theatre in Australia began almost at the same time as European invaders settled in Australia. The [[wikipedia:First_Fleet|First Fleet]], carrying British military and convicts sentenced to transportation arrived in January 1788 at Port Jackson (now Sydney) on the east coast of Australia. Within eighteenth months, the convicts had put on a performance of George Farquhar’s ''The Recruiting Officer'' to celebrate the King's birthday on 4th June 1789. Convicts and soldiers, sailors, officers and their wives joined in this reassuring spectacle of English culture, reproduced in improvised circumstances by amateurs.

Robert Jordan has written about this in[https://www.amazon.co.uk/Convict-Theatres-Early-Australia-1788-1840/dp/1902806255 ''The Convict Theatres of Early Australia, 1788-1840'' (]Currency Press, 2003) and Kathleen Wilson has remarked, in ''[https://www.amazon.com/Strolling-Players-Empire-Performances-Perspectives/dp/1108479782 Strolling Players of Empire: theater and performances of power in the British imperial provinces,] 1656-1833'', (2024) wherever the British went, they put on a play. Australian novelist, Thomas Keneally, imagined the making of this performance in his novel, ''[[wikipedia:The_Playmaker_(novel)|The Playmaker]]'' (1987), which was adapted by British playwright, Timberlake Wertenbaker as the play, [[wikipedia:Our_Country's_Good|Our Country's Good]] (1988).

Amateur theatre in Australia was important in reproducing European culture and society in the early colony, and remains a force in community involvement with the performing and creative arts.

== Links ==
https://en.wikipedia.org/wiki/Our_Country%27s_Good

https://en.wikipedia.org/wiki/The_Playmaker_(novel)

https://en.wikipedia.org/wiki/Category:Amateur_theatre_companies_in_Australia

Actresses' Franchise League

2025-09-23T10:20:28Z

Meike Wagner:

The '''Actresses' Franchise League''' was a women's suffrage organisation, mainly active in England. Though an organisation whose members were stage professionals, the performances were free and in a range of private and public venues.

== History ==
In 1908 the Actresses' Franchise League was founded by Gertrude Elliott, Adeline Bourne, Winifred Mayo and Sime Seruya at a meeting in the Criterion Restaurant in London. While "actresses" are specified in the organisation's name, any woman who was or had been in the theatrical profession was welcome to join. British actresses who joined included Sybil Thorndike, Italia Conti, Inez Bensusan, Madge Kendal, Gertrude Elliott, Ellen Terry, Lillah McCarthy, Decima Moore, Cicely Hamilton, Beatrice Forbes-Robertson Hale, Christabel Marshall, Lena Ashwell, Edith Craig, Janette Steer, Ellison Scotland Gibb, Violet Key Jones, Ellen Kate Limouzin and Lillie Langtry.

The group had three main objectives:

1. To convince members of the Theatrical profession of the necessity of extending the franchise to women.

2. To work for Votes for Women on the same terms as they are, or may be, granted to men by educational methods.

3. To assist all other leagues whenever possible.

The League itself was strictly neutral in regard to suffrage tactics meaning the organisation did not either publicly endorse or condemn militancy. However, there were some members who were also a part of militant societies such the Women's Freedom League and Women’s Social and Political Union, and who were arrested and imprisoned for militant actions. By 1913 the AFL membership had reached 900 members, and there was an affiliated men's group as well as over 100 patrons.

The first meeting of the AFL was held on 26 November 1908. and chaired by the actor–manager Johnston Forbes-Robertson. The first president of the league was Dame Madge Kendal.

AITA IATA

2025-09-23T10:18:57Z

Meike Wagner:

The [https://www.aitaiata.net International Amateur Theatre Association (AITA/IATA)] is the global umbrella organization for amateur theatre, founded in 1952 in Brussels and now headquartered in London. It represents member organizations from about 80 countries across five continents, organized into National and Regional Centres, and is recognized by UNESCO as an NGO with consultative status. AITA/IATA co-organizes the Mondial du Théâtre world festival, held every four years with its World Congress. The German, Austrian, and Swiss national centres belong to the Central Europe Committee (CEC), which also includes countries beyond Central Europe, and co-hosts the World Festival of Children’s Theatre.

Progetto Quindici

2025-06-27T08:50:33Z

Meike Wagner: new entry

[https://www.quindiciteatro.com Progetto Quindici e.V.] (Project Fifteen) is a Munich based amateur theatre group performing in Italian. They perform at different venues in Munich (Gasteig, Pepper-Theater) but also toured their shows to Regensburg and Augsburg.

== History ==
Progetto Quindici was founded in 2014 on the initiative of several Italians who shared a passion for theatre and met at the Pirandello School of the I-Talía theater group in Munich. In October 2015 the group got together and considered performing their first show, hence the name of the amateur theatre. They successfully staged Edward Albee's "Who's Afraid of Virginia Woolf?" in the Gasteig cultural centre in Munich in 2017. In the following years they staged comic and musical works (e.g. Karl Valentin) but also Italian works by De Luca, De Filippo, Amoroso, Clementi and Pirandello. Progetto Quindici became a registered association in 2017 with Augusto Guisanni, Francesco Dighera, Marta Veltri, Mathias, Sandra, Valentina Fazio, and Walter Tagliabue as founding members.

== Active Members ==

* Augusto Guissani
* Daniele Pierini
* Elisabetta Officio
* Enrico Apicella
* Fabiana
* Francesco Dighera
* Marta Veltri
* Pamela Marsotto
* Sandra
* Simonetta Soliani
* Ulrico Peckelsen
* Valentina Fazio
* Walter Tagliabue

== Repertoire ==
2015

* Il Nome

2017

* Chi Ha Paura di Virginia Woolf?

2018

* Il Rilegatore Wanninger e altre storia. Ridiamo con Karl Valentin
* Napoli per due
* L'Ebreo

2019

* Parenti Serpenti
* dis(Onore)

2020

* Femmes Fatales
* I Monologhi da casa

2021

* C'ere due volte il Barone Lamberto
* Poker

2022

* La Bottega del Caffé

2023

* Far finta di essere il signor

2024

* Il meraviglioso viaggio die Marco Polo

Entity Theatre e.V.

2025-06-27T08:21:33Z

Meike Wagner: additions

[https://entitytheatre.com Entity Theatre e.V.] is an English-speaking amateur theatre based in Munich. Since 20 years they have performed as a nonprofit community-theatre company. They are a volunteer-driven organization with an eclectic and diverse group of members from across the globe. They create theatre work that includes, but is not limited to, plays, staged readings, workshops, play-reading, and theatre festivals. They regularly hold evening workshops to explore theatre techniques, production processes and develop theatrical skills.

== History ==
The theatre society was founded in 1999 when Danny Strike and Allison Sandford decided to form a group called Entity Theatre Workshop. After finding its footing and exploring theatre in the form of workshops and rehearsals, Entity Theatre held its first performance in 2001. In 2008, Entity was registered as an official association.

== Repertoire ==
Entity theatre has produced over 40 shows.

2001

* The Real Inspector Hound

2002

* A Day in the Death of Joe Egg

2003

* Nude with Violin
* Dahling You Were Marvellous

2004

* Man of the Moment
* Games

2005

* Experiment with an Air Pump

* Mr. Nobody / Bottled Spider

2006

* Kevin
* Out of Sight ... Out of Murder

2007

* Wyrd Sisters

2008

* The Parting
* Set Sail for Home
* Lovers at Versailles

2009

* The Bear / The Jubilee
* Equus

2010

* An Then There Were None
* Jumping Jasper / Norma's Scent / The Exception and the Rule

2011

* Alfie
* Maskerade

2012

* Open Air English Theatre
* 3 Nights with Madox
* Cinderella - A Panto

2013

* Touched - Pilot's Thumb
* Open Air Festival
* The Women
* A Play on Words

2014

* Protest - Pilot's Thumb
* The Note / The Ribbon
* A Midsummer Night's Dream
* Sleeping Beauty - a Panto

2015

* Inner Chimp / Eddie - Pilot's Thumb
* The Merry Wives of WIndsor
* The Memory of Water

* Murder's in the Heir

2016

* The 39 Steps
* Aladin - a Panto
* As You Like It

2017

* Numbers
* Twelfth Night - Or What You Will
* Stage Kiss

2018

* Commencing & Being Norwegian
* Hamlet
* Lend Me A Tenor

2019

* Romeo and Juliet
* Being Norwegian
* Snow In the Summer?
* It's a Wonderful Life - A Life Radio Play, Re-Broadcast
* The Seagull

2020

* Masks and Mirrors
* The Tempest
* Miracle on 34th Street - A Radio Play
* It's a Wonderful Life - A Life Radio Play, Re-Broadcast

2021

* THE DARK - A Halloween Radio Play
* Much Ado About Nothing
* Halloween Live Broadcast

2022

* Constellations
* The Comedy of Errors

2023

* Art
* Bombshells
* Othello

2024

* Trifles + Ile
* A Midsummer Night's Dream
* Ken Ludwig's Baskerville - A Sherlock Holmes Mistery
* The Pillowman
* A Christmas Carol

2025

* The Importance of Being Earnest
* The Merchant of Venice
* 24h-Theater-Festival
* Arms and the Man

Entity Theatre e.V.

2025-06-16T14:55:55Z

Meike Wagner: Created page with "[https://entitytheatre.com Entity Theatre e.V.] is an English-speaking amateur theatre based in Munich. Since 20 years they perform as a nonprofit community-theatre company. They are a volunteer-driven organization with an eclectic and diverse group of members from across the globe. They create theatre work that includes, but is not limited to, plays, staged readings, workshops, play-reading, and theatre festivals. They regularly hold evening workshops to explore theatre..."

[https://entitytheatre.com Entity Theatre e.V.] is an English-speaking amateur theatre based in Munich. Since 20 years they perform as a nonprofit community-theatre company. They are a volunteer-driven organization with an eclectic and diverse group of members from across the globe. They create theatre work that includes, but is not limited to, plays, staged readings, workshops, play-reading, and theatre festivals. They regularly hold evening workshops to explore theatre techniques, production processes and develop theatrical skills.

== History ==
The theatre society was founded in 1999 when Danny Strike and Allison Sandford decided to form a group called Entity Theatre Workshop. After finding its footing and exploring theatre in the form of workshops and rehearsals, Entity Theatre held its first performance in 2001. In 2008, Entity was registered as an official association.

== Repertoire ==
Entity theatre has produced over 40 shows.

Statt Theater Vegesack

2025-06-16T14:17:08Z

Meike Wagner:

[[File:207106 178732145510280 2162243 n.jpg|thumb|Logo ]]
[https://statt-theater-vegesack.de Statt Theater Vegesack] is a theatre association that is named after the suburb of Vegesack in the Norther part of Bremen. The amateurs annually produce three to five plays. Their theatre performance and social events bring together the community of Vegesack. More so promoting young talent is a top priority at Statt-Theater Vegesack. Numerous active amateur actors have been trained by the Statt-Theater junior ensemble.

== History ==
In 1989, Max Wölfl founded the Statt-Theater Vegesack with Gerd Linke and other theatre enthusiasts from Bremen North. The aim of this non-profit association is to continuously offer challenging theatre plays for their community. The theatre association receives no public funding and is financed exclusively by membership fees, entrance fees and donations.With more than 100 theatre productions since its foundation, the association has significantly enriched the cultural landscape of Bremen-North. Over 95,000 spectators have attended the productions to date.

== The Venues ==

* Kulturbahnhof Vegesack
* Stages of the Gustav-Heinemann Bürgerhaus in Bremen-Vegesack
* Top floor of Stadtkirche Vegesack
* Theatre at Jacobs University
* Kito
* Schlachthof
* Hamme Forum.

== Repertoire ==
The repertoire is diverse: classics, modern plays, comedies, revues, thrillers, dramas, experimental theatre and in-house productions. No theatre genre is excluded by the theatre makers. Productions are usually performed for four weeks.

1989/1990

* Bezahlt wird nicht (Dario Fo)
* Knasterbax und Siebenschütz (Werner Schrader / Heinz Lemmermann)
* Tango (Slavomir Mrozek)
* Wirst du mich auch morgen früh noch lieben? (Brian Clemens / Dennis Spooner)
* Der neue Mieter (Eugene Ionesco)
* Daphnis und Chloe (Longos)

1990/1991Die Räuber (Friedrich Schiller)

* Kalldewey-Farce (Botho Strauß)
* Schabernackel (Werner Schrader / Heinz Lemmermann)
* Baal (Bertolt Brecht)
* Geh zum Teufel, mein Engel (Brian Clemens / Dennis Spooner)
* Mit Tinte, Rotwein und Odol (Kurt Tucholsky)

1991/1992

* Frühlings Erwachen (Frank Wedekind)
* Woyzeck (Georg Büchner)
* In Schinkenbüttel ist der Affe los (Werner Schrader / Heinz Lemmermann)
* Vorsicht, Trinkwasser (Woody Allen)
* Dracula (Max Wölfl / R. Gresse)
* Wer hat Angst vor Virginia Woolf (Edward Albee)

1992/93

* Kissing God (Phil Young)
* Knasterbax und Siebenschütz (Werner Schrader / Heinz Lemmermann)
* Die Verfolgung und Ermordung Jean Paul Marats… (Peter Weiss)
* Lysistrata (Aristophanes)

1993/94

* Die Eule und das Kätzchen (Wilton Manhoff)
* Der Zauberer von Oz (Frank L. Baum)
* Der zerbrochene Krug (Heinrich von Kleist)

1994/95

* Hase Hase (Coline Serreau)
* Oh, wie schön ist Panama (Janosch)
* Die Schöne und der Schelm (Anonymus)

1995/96

* Gerettet (Edward Bond)
* Die Hexe Backa Racka (Werner Schrader / Heinz Lemmermann)
* Happy Birthday, Wanda June (Kurt Vonnegut)
* Die Weibervolksversammlung (Aristophanes)

1996/97

* Seh’n Se, das is Berlin… (Gerd Linke / Max Wölfl)
* Hänsel und Gretel (nach den Brüdern Grimm)
* Genoveva oder Die weiße Hirschkuh (Julie Schrader)

1997/98

* Auf die Plätze, fertig… love (Derek Benfield)
* Pippi Langstrumpf (Astrid Lindgren)
* Medea-Collage (Christa Präger / Max Wölfl)
* Die Physiker (Friedrich Dürrenmatt)

1998/1999

* An einem Ort wie Vegesack… (Max Wölfl / Rainer Wendelken)
* Der kleine Vampir (nach Angela Sommer-Bodenburg)
* Misery (Stephen King)

1999/2000

* Eine Woche voller Samstage (Paul Maar)
* Bezahlt wird nicht (Dario Fo)
* Fette Männer im Rock (Nicky Silver)

2000/01

* Berlin, ach Berlin (Gerd Linke / Max Wölfl)
* Die Schöne und das Biest (französisches Volksmärchen)
* Was ihr wollt (William Shakespeare)

2001/02

* Der nackte Wahnsinn (Michael Frayn)
* Der eingebildete Kranke (Moliere)
* Rumpelstilzchen (nach den Brüdern Grimm)

2002/03

* Die Mausefalle (Agatha Christie)
* Jim Knopf und Lukas der Lokomotivführer (Michael Ende)
* Dracula (Max Wölfl/Rainer Wendelken)

2003/04

* Ein gemütliches Wochenende (Jean Stuart)
* Der Mäusesherriff (Janosch)
* Geschlossene Gesellschaft (Jean-Paul Sartre)
* Dirty Dishes (Nick Whitby)

2004/05

* Der gestiefelte Kater (Brüder Grimm)
* Die Glasmenagerie (Tennessee Williams)
* Bunbury (Oscar Wilde)
* Drei Mal Leben (Yasmina Reza)

2005/06

* Der Drache Gertrud (Ralf Isau)
* Acht Frauen (Robert Thomas)

2006/07

* Der Geizige (Molière)
* Der kleine Muck (Wilhelm Hauff)
* Der Tod und das Mädchen (Ariel Dorfman)
* Cheek to Cheek (Jonas Gardell)

2007/08

* Komödie im Dunkeln (Peter Shaffer)
* Urmel aus dem Eis (Max Kruse)
* Nora (Henrik Ibsen)
* Jeder kann es gewesen sein (Alan Ayckbourn)

2008/09

* Außer Kontrolle (Ray Cooney)
* Prinzessin Rosenblüte oder Die Prinzessin auf dem Fahrradständer (Kirsten Boie)
* Hexenjagd (Arthur Miller)

2009/10

* Mittsommernachts-SEX-Komödie (Woody Allan)
* Die Chinesische Nachtigall (nach Hans Christian Andersen)
* König Ödipus (Sophokles)
* Offene Zweierbeziehung (Dario Fo / Franca Rame)

2010/11

* Funkenflug (Tena Stivicic)
* Der Lebkuchenmann (David Wood)
* Nabelschnüre (Michael McKeever)
* Humberrie (Ronald Rudoll)

2011/12

* Viel Lärm um nichts (William Shakespeare)
* Der Froschkönig (Ute Schimmler nach den Brüdern Grimm)
* Ein Irischer Abend: Glückliche Tage (Samuel Beckett) + Das Ende vom Anfang (Sean O’Casey)
* Bär sucht Frau: Der Bär und Der Heiratsantrag (Anton Tschechow)
* Knock oder Der Triumph der Medizin (Jules Romains)

2012/13

* Mrs. Dot oder Lieber reich und glücklich (William Somerset Maugham)
* Rumpelstilzchen (Ute Schimmler nach den Brüdern Grimm)
* Der Sandmann (E.T.A. Hoffmann
* Frau Müller muss weg (Lutz Hübner)

2013/14

* In Zungen reden (Andrew Bovell)
* Der Zauberer von Oz (Dirk Böhling und Alexander Seemann nach Lyman Frank Baum)
* Zieh‘ den Stecker raus, das Wasser kocht (Ephraim Kishon)
* Peer Gynt (Henrik Ibsen) (25th Anniversary)

2014/15

* Gretchen 89 ff. (Lutz Hübner)
* In Zungen reden (Andrew Bovell)
* An der Arche um acht (Ulrich Hub)
* Fisch zu viert (Wolfgang Kohlhaase und Rita Zimmer)
* Lesen swingt (diverse Autoren)
* Die Spielverderber oder das Erbe der Narren (Michael Ende)

2015/16

* Fisch zu viert (Wolfgang Kohlhaase und Rita Zimmer)
* Hysterikon (Ingrid Lausund)
* Der Vorname (Matthieu Delaporte und Alexandre de la Patellière)
* Gut gebrüllt, Löwe (Max Kruse)
* Gretchen 89 ff. (Lutz Hübner)
* Bär sucht Frau: Der Bär und Der Heiratsantrag (Anton Tschechow)
* Der Kaufmann von Venedig (William Shakespeare)

2016/17

* Normans Eroberungen – Trautes Heim (Alan Ayckbourn)
* Ein Huhn haut ab (Wolfram Hänel)
* Der Vorname (Matthieu Delaporte und Alexandre de la Patellière)
* Bär sucht Frau: Der Bär und Der Heiratsantrag (Anton Tschechow)
* Homo empathicus (Rebekka Kricheldorf)
* Beautiful Bodies (Laura Cunningham)

2017/18

* Job Suey (Edward Taylor)
* Helges Leben (Sibylle Berg)
* Eine Woche voller Samstage (Paul Maar)
* Passagier 23 (Sebastian Fitzek)

2018/19

* Zorn (Joanna Murray-Smith)
* Urmel aus dem Eis (Max Kruse)
* Passagier 23 (Sebastian Fitzek)
* Ein Sommernachtstraum (William Shakespeare)

2019/20

* Murder by Sex (Joan Shirley)
* Dr. Dolittle (Hugh Loftin / Dirk Böhling)
* Überraschungsbesuche: Separatfrieden (Tom Stoppard) und Dann kam Oma (Ubbo und Mareike Gerdes)

2021/22

* Herbstlese (versch. Autoren und Lesende)
* Frau Holle
* Gott des Gemetzels (Yasmina Reza)
* Walking Act (400th Birthday of the Harbour)

2022/23

* In der Haifischbar (400th Birthday of the Harbour)
* Gott des Gemetzels (Yasmina Reza)
* Der Lebkuchenmann (music by David Wood)
* Ringelnatz-Abend (Andrea Eldagsen)
* Heiteres & Besinnliches (versch. Autoren und Lesende)
* Acht Frauen (Robert Thomas)
* Ein gemütliches Wochenende (Jean Stuart)

2023/24

* In der Haifischbar (400th Birthday of the Harbour)
* Pinocchio (Carlo Collodi)
* Die Firma dankt (Lutz Hübner)
* Das indische Tuch (Edgar Wallace)
* Das Dschungelbuch (Rudyard Kipling)

2024/25

* Purgatorio (Ariel Dorfman)
* Mein Freund Harvey (Mary Chase)

== Awards ==

* 1997: Vegesack Culture Prize by the Community Council

== Links ==
Facebook: https://www.facebook.com/people/Statt-Theater-Vegesack-e-V/100057287657144/

News Articles:

* https://spot-bremen.de/magazin/tipps/statt-theater-vegesack/
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/dschungelbuch-in-vegesack-statt-theater-begeistert-mit-premiere-doc7ybnc9ew9s3h0j1socb
* https://spot-bremen.de/events/statt-theater-vegesack-purgatorio/
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/vegesacker-geschichtenhaus-schliesst-statt-theater-verliert-buehne-doc7w80amy07uvvat5qoo9
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/die-firma-dankt-statt-theater-vegesack-spielt-satirisches-stueck-doc7v4xyc3uj9s1ghhxfdcd
* https://weserreport.de/2018/05/bremen-bremen/stadtteile/nord/statt-theater-vegesack-sucht-eine-feste-spielstaette/
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/vegesack-statt-theater-bildet-erfolgreich-nachwuchs-aus-doc7w90xaz8x1f1awm43b8l
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/statt-theater-vegesack-gelungene-premiere-eines-klassikers-doc7pey88t49fm8i4r41p1
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/vegesack-statt-theater-spielt-kinderstueck-der-lebkuchenmann-doc7nmloqr53gy1n4j96f72
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/vegesack-statt-theater-bringt-ringelnatz-gedichte-auf-die-buehne-doc7oct6kzlf1z1uj34ctx
* https://www.weser-kurier.de/bremen/stadtteil-vegesack/statt-theater-vegesack-spielt-der-gott-des-gemetzels-doc7k3tmv42ez718yx2fh2l

Scheyerer Bühne e.V.

2025-06-16T12:52:06Z

Meike Wagner: re-structuring, English

The [https://scheyerer-buehne.de Scheyerer Bühne e.V.] (Scheyern Stage) annually performs in the theatre hall in Scheyern. The goal of the Scheyerer Bühne e.V. firstly is to keep amateur theatre alive, as well as to promote Bavarian dialect. Hence, they exclusively perform in Bavarian dialect.

== History ==
The Scheyerer Bühne e.V. was founded on 14th June 1991. The founding members were Emma Bucher, Siegfried Einödshofer, Johann Euringer, Karl Euringer, Bernhard Feuerer, Michaela Euringer, Heinrich Fischer, Hermine Gamperl, Albert Mahl, Renate Nischitz, Erwin Pfab, Anton Pillmayer, Karlheinz Reil, Hans Reith, Elke Seitz, Marianne Seitmann.

Until 1999, the performances took place in the hall of the monastery inn; from 2000 to 2005, they performed in the clubhouse on Hochstraße. Since March 2007, they have performed in the Scheyerer Theater, which they remodeled themselves. From 1993 to 1999, a one-hour cabaret program, focusing on local politics, was presented in the hall of the monastery inn at the annual Starkbier-Festival. This always included a musical program. Since 2000, they have participated, along with others, in the Starkbier-Festival at the clubhouse of Scheyern.

== Repertoire ==
Scheyerer Bühne e.V. produced annual performances.

Productions:
* "Alles fest im Griff“, 1991
* "Dreimal hat’s gekracht", 1992
* "Da ist der Wurm drin", 1993
* "Hurra- Zwillinge", 1994
* "Da Roagaspitz", 1995
* "Zuständ san des", 1996
* "Der Preisboxer", 1997
* "Hypotheken- Poker", 1998
* "A Äktsch’n hoid", 1999
* "S‘ Elädrische", 2000
* "Eine verrückte Familie", 2001
* "D’Wahl- Lump’n", 2002
* "Da Häuslschleicha", 2003
* "Der ledige Bauplatz", 2004
* "Rebellische Weiber", 2005
* "Theater", 2007
* "Da Philosophe", 2007
* "Da Rauberpfaff", 2008
* "Die Lügenglocke", 2009
* "Altaich", 2010
* "Leiche auf Abwegen", 2011
* "Aphrodites‘ Zimmer", 2012
* "Die Schuidntafel", 2013
* "Warum krampfet’ma ned de ganze Bank?", 2015
* "Das sündige Dorf", 2016
* "Da Brezensalzer", 2017
* "Die drei Dorfheiligen", 2018
* "Der richtige Riecher", 2019
* "Krach um Jolanthe", 2022 ·
* "RegnWurmOrakl", 2023
* "Da braut sich was zsamm", 2024

* "Das etwas andere Weihnachten", 2000
* "Aladdin und Beladdin", 2001
* "Der Froschkönig", 2002
* "Eddi und „Die Große Wut“", 2003
* "Aschenputtel", 2008
* "Dornröschen", 2009
* "Das tapfere Schneiderlein", 2010
* "Frau Holle", 2011
* "Lottchens Traum", 2012
* "Ein Sommernachtstraum", 2013
* "Annelieschen und Johannes", 2014
* "Die Bremer Stadtmusikanten", 2015
* "Aladdin und Beladdin", 2016
* "Aschenputtel und der Froschprinz", 2017
* "Pippi Langstrumpf", 2018
* "Das kleine Gespenst", 2019
* "[önf]- Womit keine Zahl rechnet", 2023
* "Peter Pan", 2024

Loisachtaler Bauernbühne e. V.

2025-04-25T10:06:54Z

Meike Wagner: Translation

The ''Loisachtaler Bauernbühne e. V.'' is located in Wolfratshausen. It is a member of the [[Verband Bayerischer Amateurtheater e. V.]] (Union of Bavarian Amateur Theatre). The mainly perform Bavarian dialect plays and popular comedy. As a special tradition of the theatre society the audience receives small gifts when entering the venue, e.g. every woman in the audience receives a rose, every man a glas of schnaps when attending.<ref>This information is based on oral history from members of the theatre society. </ref>

Sometimes the theatre society translates classic drama into Bavarian dialect versions, e.g. Wolfgang Ramadan's translation of Shakespeare's ''Taming of the Shew''.<ref>Loisachtaler Bauernbühne. „2005: Der widerspenstigen Zähmung," letzter Zugriff am 01.03.2025, <nowiki>https://loisachtaler-bb.de/2005-der-widerspenstigen-zaehmung/</nowiki>. </ref>
== History ==
In the summer of 1979 Sonja Reis and Gaby Rüth published a call for collaboration in the local news paper announcing: "Zum Theaterspuin suach ma Leit und wer a Lust hat und a Freid, meldt sich bei uns an, damit er recht bald kommen kann." ("We are looking for people with a joy for theatre play, register with us and come soon to join", in Bavarian dialect).<ref>Loisachtaler Bauernbühne. „Kleiner historischer Überblick,” letzter Zugriff am 01.03.2025, <nowiki>https://loisachtaler-bb.de/vereins-geschichte/</nowiki>.</ref> Thirteen people responded and hence formed the founding group that opened the theatre society in 1980 at a meeting in the local inn ''Humplbräu'' in Wolfrathshausen. Wiggerl Gollwitzer was appointed the president of the society, a position he held until 2017. The first theatre performance of ''Der Herr im Haus in I'' (''I am the Patron of the House'') took place in fall 1981 in the foyer of the secondary school ''Realschule Geretsried''.<ref>Loisachtaler Bauernbühne. „Kleiner historischer Überblick,” letzter Zugriff am 01.03.2025, <nowiki>https://loisachtaler-bb.de/vereins-geschichte/</nowiki>.</ref>

From 1982 the theatre society performed in the town hall of Geretsried. Due to a growing popularity, they fist extended their performing season and then moved to the substantially bigger ''Loisachhalle'' in Wolfrathshausen. Both venues host performances of the theatre society depending on the repertoire. For special occasions, e.g. the performance of ''So vui Wunder'' in 2007, extra theatre venues were constructed.

Since 2007, the theatre society group offers historical city tours ''Splitter aus der Wolfratshauser Stadtgeschichte'' (''Glimpses of the Wolfrathshausen's History'').<ref>Schwaderer, Stephanie. „"Ich bin schon 10 000 Jahre tot"," Süddeutsche Zeitung, 21. Februar 2022, <nowiki>https://www.sueddeutsche.de/muenchen/wolfratshausen/wolfratshausen-loisachtaler-bauernbuehne-stadtfuehrung-martin-melf-wiggerl-gollwitzer-gabriele-rueth-1.5533368</nowiki>. </ref> The tours were created in cooperation with the ''Volkshochschule Wolfratshausen'' (''People's Academy Wolfrathshausen'') and are led by costumed tour guides.

In 2010 the theatre society staged a benefice performance of ''Alles Blech'' in cooperation with the ''Förderverein Geretsried'' (''Charitable Society Geretsried'') to collect 18.000 € for the creation of a cinema in the local city museum.<ref>Merkur. „Theaterstück spielt 18.000 Euro ein,“ letzter Zugriff am 01.03.2025, <nowiki>https://www.merkur.de/lokales/wolfratshausen/theaterstueck-spielt-18000-euro-952591.html</nowiki>.</ref>
== Repertoire ==
* ''Im Pfarrhaus is da Deifi los'' – Sebastian Kolb & Markus Scheble (2023)
* ''Kurzer Prozeß vom Wildschütz Jennerwein'' – (2023)
* ''Huif Kini huif'' – Heidi Falthauser (2022)
* ''Ma konns oafach koam recht macha'' – Martin Stelzer (2021)
* ''Hochwürden auf der Flucht'' – Walter G. Pfaus (2019)
* ''Lass die Sau raus'' – Andreas Wening (2018)
* ''Dümmer als die Polizei erlaubt'' – Markus Scheble & Sebastian Kolb (2017)
* ''Hirn'' – Sabine Misiormy & Tom Müller (2016)
* ''Der Vampir von Zwicklbach'' – Ralph Wallner (2015)
* ''Breznknödl-Deschawü'' – Ralph Wallner (2014)
* ''Da Himme wart net'' – Markus Scheble & Sebastian Kolb (2013)
* ''Die bayerische Prohibition'' – Peter Landstorfer (2012)
* ''Der verkaufte Großvater'' – Anton Hamik (2011)
* ''Ladysitter'' – Bernd Spehling (2010)
* ''Alles Blech –'' Jelena Zinnecker( 2010)
* ''Gute Besserung'' – Bernd Gumbold (2009)
* ''Kein Mann für eine Nacht'' – Uschi Schilling (2008)
* ''Vorsicht bissiger Hund'' – Wolfgang Bräutigam (2007)
* ''So vui Wunder'' – Jelena Zinnecker (2007)
* ''Theater'' – Peter Landstorfer (2006)
* ''Der widerspenstigen Zähmung – Shakespeare auf Bayrisch'' – Bearbeitet von Wolfgang Ramadan (2005)
* ''Die schwarze Trauung'' – Hugo Rendler (2004)
* ''Ois bloß Chemie'' (2003)
* ''6 im Doppelbett'' (2002)
* ''Pension Schöller'' – Fassung von Jürgen Wölffer (2001)
* ''A sauberne Sippschaft/Tante Jutta aus Kalkutta'' – Max Reimann & Otto Schwartz, Bearbeitung: Georg Steinbichler (2000)
* ''Der Rauberpfaff'' – Peter Landstorfer (1999)
* ''Flammen der Leidenschaft'' (1998)
* ''Lügen haben hübsche Beine'' (1997)
* ''Auszogne/Wia kumm ich nach Hollywood'' (1996)
* ''Scho überredt'' (1995)
* ''Ring frei für Gustav'' (1993)
* ''Die narrischen Weiber'' – Franz Streicher (1989)
* ''Dreimal hat’s gekracht'' – Erfried Smija (1988)
* ''Der Susi ihr G’spusi'' – Hermann Schuster (1987)
* ''Die gmischte Sauna'' – Hilde Eppensteiner (1986)
* ''Das blaue Wunder von Wolpertshausen'' – Hermann Schuster (1985)
* ''Der verheirat’te Jungg’sell'' – Risa Karhan (1984)
* ''Opas Glückstreffer'' – Ulla Kling (1983)
* ''Der Herr im Haus bin i'' – Franz Schauzer (1982)
* ''Der Brandner Kaspar und das ewig’ Lebn'' – Kurt Wilhelm, nach einer Erzählung von Franz von Kobell (1994, 1998, 2003, 2009, 2017)

== Literatur ==

* Loisachtaler Bauernbühne. „Gespielte Stücke,” letzter Zugriff am 01.03.2025, <nowiki>https://loisachtaler-bb.de/gespielte-stuecke/</nowiki>.

* Loisachtaler Bauernbühne. „Historische Stadtführung Wolfratshausen,” letzter Zugriff am 01.03.2025, <nowiki>https://loisachtaler-bb.de/historische-stadtfuehrung-wolfratshausen/</nowiki>.

* Loisachtaler Bauernbühne. „Kleiner historischer Überblick,” letzter Zugriff am 01.03.2025, <nowiki>https://loisachtaler-bb.de/vereins-geschichte/</nowiki>.

* Merkur. „Theaterstück spielt 18.000 Euro ein,“ letzter Zugriff am 01.03.2025, <nowiki>https://www.merkur.de/lokales/wolfratshausen/theaterstueck-spielt-18000-euro-952591.html</nowiki>.

* Merkur. „Für Geretsried wird ein Märchen wahr,” letzter Zugriff am 01.03.2025, <nowiki>https://www.merkur.de/lokales/wolfratshausen/geretsried-wird-maerchen-wahr-542243.html</nowiki>.

== References ==

Kulturschupp'n Mühldorf

2025-04-25T09:30:25Z

Meike Wagner: Translation, re-structuring

''Kulturschupp’n Mühldorf'' is an amateur theatre association located in Mühlenstraße 20 in the town of Mühldorf.<ref>Kulturschupp’n Mühldorf e.V. Ihr Theater aus Mühldorf. Letzter Zugriff am [28.02.2025]. <nowiki>https://kulturschuppn.de</nowiki>.</ref> The theatre collaborated with the Youth Center M24 nearby, offering attending and involving in theatre performances for differnet age groups. ''Kulturschupp'n Mühldorf'' is a member of the ''Verband Bayerischer Amateurtheater'' (Union of Bavarian Amateur Theatres) and entertains a huge network with other theatre makers all over the country.

== History ==

The theatre ''Kulturschupp’n Mühldorf e.V.'' emerged in 1993 from a cooperation of local theatre makers. entstand als eine Kooperation lokaler Theaterschaffenden, welche sich auf eine etwas unkonventionelle Art des Theaters präsentieren wollten.

== Productions ==
''Kulturschupp’n Mühldorf e.V.'' shows a regular repertoire of stage productions. It also engages in charity work, e.g. through a benefice concert of the ''Flintstone Jazz Trio'' supporting the association ''Frauen helfen Frauen'' (Social Work for Women)<ref>„Benefizkonzert im Kulturschupp’n.“ OVB Online, 10. September 2024. Letzter Zugriff am [26.02.2025]. <nowiki>https://www.ovb-heimatzeitungen.de/muehldorf/2024/08/29/benefizkonzertim-kulturschuppn.ovb</nowiki>.
</ref>

== References ==

Kulturkeller Winkel

2025-04-25T09:19:08Z

Meike Wagner:

The ''Kulturkeller Winkel'' existed between 2017 and 2021. It emerged from the ''Jungintendanz'' (Young Artistic Direction) at Luzern Theatre. The word ''Kulturkeller'' ('culture basement') was located in the basement of Luzern Theatre.

== History ==
The project grew out of a collaboration with the study program "Social Work" at Luzern College and started with a call for applications. From the applications, eight young artists from all fields (aged between 17 and 25) were selected to form the ''Jungintendanz''. Without any limitations to their choice of artistic means or genres, these young people were free to use ''Kulturkeller Winkel'' for their works. They were obliged though to perform two public events per month and to involve four different groups for working in the premises. They hence acted like a host to artistic residencies and like a free lance theatre institution, as well as a company for theatre and art production. Particularly in the beginning, ''Kulturkeller Winkel'' was funded by Luzern theatre and also supported in regard to infrastructure.<ref><nowiki>https://www.zentralplus.ch/kultur/aus-ug-mach-winkel-ein-unterschlupf-fuer-die-kunst-807243/</nowiki></ref>

After the premises of ''Kulturkeller Winkel'' had been dismantled the remaining members of the group formed a collective by the name of ''Kollektiv Winkel'' to continue working on projects. They had theatre productions in 2022 and 2024. Currently the collective comprises eight people, not all of them being involved in all projects though.<ref>http://www.winkel.lu/team/</ref>

== References ==
<references />

Kulturkeller Winkel

2025-04-25T09:11:21Z

Meike Wagner: New entry, because of title error in original entry

The ''Kulturkeller Winkel'' existed between 2017 and 2021. It emerged from the ''Jungintendanz'' (Young Artistic Direction) at Luzern Theatre. The word ''Kulturkeller'' ('culture basement') was located in the basement of Luzern Theatre. The project grew out of a collaboration with the study program "Social Work" at Luzern College and started with a call for applications. From the applications, eight young artists from all fields (aged between 17 and 25) were selected to form the ''Jungintendanz''. Without any limitations to their choice of artistic means or genres, these young people were free to use ''Kulturkeller Winkel'' for their works. They were obliged though to perform two public events per month and to involve four different groups for working in the premises. They hence acted like a host to artistic residencies and like a free lance theatre institution, as well as a company for theatre and art production. Particularly in the beginning, ''Kulturkeller Winkel'' was funded by Luzern theatre and also supported in regard to infrastructure.<ref><nowiki>https://www.zentralplus.ch/kultur/aus-ug-mach-winkel-ein-unterschlupf-fuer-die-kunst-807243/</nowiki></ref>

After the premises of ''Kulturkeller Winkel'' had been dismantled the remaining members of the group formed a collective by the name of ''Kollektiv Winkel'' to continue working on projects. They had theatre productions in 2022 and 2024. Currently the collective comprises eight people, not all of them being involved in all projects though.<ref>http://www.winkel.lu/team/</ref>

== References ==
<references />

Ilchom-Theater

2025-04-25T08:53:52Z

Meike Wagner: Translation, re-structuring

[[File:12345-etapy-laboratorii.jpg|thumb|[https://ilkhom.com/wp-content/uploads/2024/11/12345-etapy-laboratorii.jpg Etapy Laboratorii] aus dem Ilchom Theater]]
The Ilchom Theatre (Russian: Театр Ильхом) in Tashkent, Uzbekistan, was founded in 1976 by Mark Weil and was the first independent theatre in the Soviet Union. It established itself as an avant-garde stage with an innovative artistic approach and continues to exist today as one of the few non-state theatres in Central Asia. Its influence extends far beyond the country's borders, making it a central player in the independent theatre movement in the region.

The Ilchom Theatre stands for artistic freedom, creative innovation, and cultural resistance. Up until today it remains a key institution in Central Asia's experimental theater landscape. Its significance goes beyond the mere staging of plays—it is a place of critical discourse that facilitates dialogue between past and present, East and West, and tradition and modernity.

It has a huge impact on Uzbekistan theatre through its acting school, giving young people a training opportunity, through its international cooperations with theatres in Europe and the US, and through its social and political stance.<ref name=":1" />

== History ==
Mark Weil founded the Ilchom Theater in 1976 with the goal of developing an alternative theatrical language distinct from the ideologically driven state theaters. The name "Ilchom" means "inspiration" and underscores the desire for artistic autonomy. The theater was self-financed and became a meeting place for creative minds seeking to escape state control.

Ilchom gained particular attention in the 1980s, performing plays by Western authors such as Tennessee Williams, Bertolt Brecht, and Friedrich Dürrenmatt—often in a political context that allowed for criticism of the system. After the collapse of the USSR in 1991, the theater was only able to survive through international collaborations and private funding.<ref name=":0">Weil, M. (2022). Неизвестный известный Марк Вайль. Taschkent: Ilchom Press.</ref> The assassination of Mark Weil in 2007 was a serious turning point, but the ensemble decided to continue the theatre and preserve its legacy.<ref name=":1">Ilchom Theatre Official Website: www.ilkhom.com</ref>

== Aesthetics and Repertoire ==
Ilchom developed an interdisciplinary theater language that combined multimedia elements, physical theater, and experimental narratives. His repertoire encompasses a wide range of plays, from classical adaptations to contemporary, socially critical works.

==== Relevant Theatre Productions ====
* "''Happy Beggars''" – a modern interpretation of Central Asian folklore, reflecting social ans political aspects<ref name=":0" />
* "''Tragedy in the Style of Rock''" – a fusion of music, theatre und performance, thematizing social transformations
* "''The Sound of the Wind''" – a reflexion on post-sowjet change in Central Asia
Ilchom's repertoire is characterized by cultural hybridity, combining Western and Central Asian theater traditions.<ref name=":0" />

== Awards and Prizes ==
The Ilchom Theatre has received numerous awards for its cultural contributions and innovative productions, including:

* [[wikipedia:Prince_Claus_Fund|Prince Claus Award]] (2011) for exzellent artistic work in a contested political environment
* Price for Theatrical Innovation in Central Asia (2019) for its Avantgarde aesthetics and the Support of Young Artists

== Literature ==
Weil, M. (2022). Неизвестный известный Марк Вайль. Taschkent: Ilchom Press.

Edgar, A. & Heyat, F. (2021). Modern Central Asia: A Primary Source Reader. Rowman & Littlefie.

== Weblinks ==

* [https://de.wikipedia.org/wiki/Ilchom-Theater Wikipedia-Artikel (auf Russisch)]
* [https://www.ilkhom.com Ilchom Theatre Official Website (auf Russisch)]
* [https://mytashkent.uz/wp-content/uploads/2022/09/book_izvestiy-neizvestniy-mark_vail-7_080922-123957.pdf Der unbekannte berühmte Mark Weil (Orig. auf Russisch: Неизвестный известный Марк Вайль)]

== References ==

Die Volltexter

2025-04-25T08:34:16Z

Meike Wagner:

"Die Volltexter" is an initiative by the [https://www.akn-obb.de/autismus-oberbayern-ev Autismus Oberbayern e.V.], an association dedicated to supporting autistic children, adolescents, and adults. This group collaborates with the Kreisjugendring München-Stadt, the Autismuskompetenzzentrum Oberbayern gemeinnützige GmbH, and the Förderverein Autismus Initiative e.V. to create inclusive theater projects. These productions bring together children and adolescents with and without autism, fostering mutual understanding and creativity through collaborative performances.<ref>https://theaterundautismus-oberbayern.de/spielplan.htm

</ref>

== References ==

Brandenburgischer Amateurtheaterverband e. V. (BATV)

2025-04-25T08:24:39Z

Meike Wagner:

The [https://batvev.wordpress.com Brandenburgischer Amateurtheaterverband e.V. (BATV)] is the umbrella organization for amateur and lay theaters in the state of Brandenburg, Germany. Established in 1990, the association has been dedicated to promoting and supporting non-professional theater activities throughout the region.

{{Organization|qid=Q122829962}}

== History ==

The BATV was founded in 1990 with the aim of fostering amateur theater culture in Brandenburg. Over the years, the association has organized various events, workshops, and festivals to enhance the skills of its members and to showcase their theatrical productions. A milestone in the association's history is the organization of the Brandenburgische Amateurtheatertage (BATT), a biannual festival that brings together theater groups from across the state to perform and engage in artistic exchange.

== Activities ==

The BATV's activities include:

* Organizing workshops and training sessions for actors, directors, and other theater practitioners to improve their craft.
* Hosting the Brandenburgische Amateurtheatertage (BATT), providing a platform for amateur theater groups to present their work and engage with a wider audience.
* Publishing materials and resources related to amateur theater, such as the "[[Theaterblatt]]", which was launched 1994.<ref>https://batvev.wordpress.com/2014/01/16/theaterblatt-12014-ist-da/</ref>
* Facilitating networking opportunities among theater groups within Brandenburg and beyond.

== Structure ==

The association operates through a board of directors and maintains a membership base comprising various amateur theater groups from the region. Regular meetings, such as the Theaterleiterkonferenz (Theater Leaders Conference), are held to discuss organizational matters, plan events, and address challenges faced by member groups.

== Members Groups ==

The BATV has been supported by a wide range of amateur theater groups from Brandenburg since its foundation in 1991. Below is a comprehensive list of the association's members and their joining years:

=== Since 2023 ===
* Improtheater Potsdam
* Musical Minds Potsdam
* Nachbarn spielen für Nachbarn

=== Since 2021 ===
* Theater „Die ScHerzberger“

=== Since 2019 ===
* Theateratelier in der Alten Fleischerei
* Seniorentheater „Die Vielfältigen“ Potsdam
* Kyritzer Knattermimen

=== Since 2017 ===
* Schlosstheater Landin e.V.
* Stage-Attack Potsdam

=== Since 2016 ===
* Kulturformat gemeinnützige UG (Playback Theater Potsdam)

=== Since 2015 ===
* Theatercompany Peitz
* Theaterschatulle Potsdam
* Offener Kunstverein Potsdam e.V.

=== Since 2014 ===
* Bürgerbühne Schwedt e.V.

=== Since 2013 ===
* Romantisches Theater Rüdersdorf e.V.

=== Since 2012 ===
* Theaterverein Leegebruch e.V.

=== Since 2011 ===
* Theater im Glien e.V.

=== Since 2010 ===
* ThyrowerTheaterTruppe e.V.
* Theater in der Scheune Schönwalde
* Amateurtheater „Die Wortgießer“ Schöneiche e.V.

=== Since 1991 ===
* MusicalWerkstatt des InterKulturVielFarben e.V., Eisenhüttenstadt
* Jugendtheater „STRUMPFHOSE“ Bad Belzig
* THEATER „Stolperdraht“ – Kinder- und Jugendtheater in Schwedt e.V.
* Waggon-Komödianten Eberswalde

=== Since 1990 ===
* Theatergruppe „TheEi“ Eisenhüttenstadt e.V.,
* Theater ohne Bühne der Jugendkunstschule Neuruppin
* Theater „Zeitlos“ Rathenow e.V.

== Weblinks ==
[https://batvev.de/ Official Website]

== References ==

* [https://batvev.wordpress.com/2014/01/16/theaterblatt-12014-ist-da/ Theaterblatt 1/2014 ist da!]
<references />
[[Category:Clubs, Societies and Institutions]]
[[Category:Germany]]

Bergwaldtheater Weißenburg

2025-04-25T08:17:06Z

Meike Wagner: Language edits, heading

The Bergwaldtheater Weißenburg is an open air theatre in the Weißenburger Wald near the town of Weißenburg, Bavaria, Germany. It hosts the annual Waldlicht Festival featuring both theatre and musical acts.

The amphitheatre contains 1275 seats, including the so called "Wurzelplätze" ("root seats") in the back. The stage space is around 250 meters wide and can be devided into several stages. Therefore it allowes for several simultaneous performances. The stage space is seperated from the audience by a trench. The seats are categorized into three blocks. The Bergwaldtheater Weißenburg is open in the spring and summertime between May and August. The programm varies from family and childfriendly shows, musicals, classical theatre, concerts and vaudeville to opera. Guests are invited to bring seat cussions and snacks to the "Wurzelplätze".

== History ==
The area used to be a quarry that was rewooded over the years. In 1927 the mayor Dr. Hermann Fritz saw the potential of the space hosting a theatre festival as a tourist attraction to work against the economic crisis of the 1920s. The theatre was planned and contructed by architect and gardener Bernhard Nill. The theatre opend on 29 June 1929 with the "Weißenburger Waldspiel", written specifically for the occasion.

Freilichtbühne Mannheim e.V.

2025-01-24T12:50:24Z

Meike Wagner:

Freilichtbühne is an amateur theatre performing on an open air stage (732 seats) during the summer months (one production for young audiences, one production for adult audiences) and on the stage of Zimmertheater (83 seats) during autumn and winter. They have a children's club (age 9-14 years, rehearsing weekly) and a youth club (age 14-19 years, rehearsing weekly) and an amateur choir in addition to their acting ensemble. The currently have ca. 400 members. The perform drama and engage in all aspects of the productions, no professionals are involved. In 2015 they received the award Landesamateurtheaterpreis LAMATHEA for their production of ''Das Geheimnis der Irma Vep.''

== History ==
In 1913 a dramatic society (Dramatischer Club) was founded in Mannheim-Waldhof, that regularly performed in the community hall at St. Franziskus. From 1950 on they started performing on an open air stage and renamed the society accordingly in Freilichtbühne (literal translation: Open Air Stage). In 1956, they moved the indoor stage to the local inn located on the grounds of the open air stage in Mannheim-Gartenstadt, Kirchwaldstr. 10.

== Repertoire ==
The amateur society performs comedy, classical drama, musical, film adaptations, fairy tales and adaptations from children's books.

* 1923: ''Der Wilddieb'' (''The Poacher'')
* 1950: ''Im weißen Röß'l'' (''The White Horse Inn'')
* 1951: ''Das Mädel vom Rhein'' (''The Girl from the River Rhine'')
* 1952: ''Das Walzermädel von Wien'' (''The Waltzing Girl from Vienna'')
* 1952: ''Die schöne Müllerin'' (''The Beautiful Miller Girl'')
* 1952: ''Hurra, ein Junge'' (''It's a Boy!'')
* 1953: ''Mathias Neidhardt''
* 1954: ''Der Meisterboxer'' (''The Champion'')
* 1956: ''Ben Hur''
* 1960: ''Wilhelm Tell''
* 1962: ''Die Nibelungen'' (''The Nibelungen'')
* 1963. ''Die Belagerung von Mannheim'' (''The Siege of Mannheim'')
* 1965: ''Die schlaue Susanne'' (''Clever Susan'')
* 1965: ''Parkstraße 13'' (''13, Park Avenue'')
* 1966: ''Götz von Berlichingen''
* 1967: ''Maria Stuart''
* 1970: ''Die Räuber'' (''The Robbers'')
* 1972: ''Helden'' (''Heroes'')
* 1973: ''Die Narretei'' (''Foolishness'')
* 9174: ''Biedermann und die Brandstifter'' (''The Fire Raisers'')
* 1978: ''Kalif Storch'' (''Calif Stork'')
* 1979/2005: ''Räuber Hotzenplotz'' (''Robber Hotzenplotz'')
* 1979: ''Till in Schilda''
* 1980: ''George Dandin''
* 1981/2011: ''Pinocchio''
* 1981: ''Der Diener zweiter Herrn'' (''Servant of Two Masters'')
* 1982: ''Der kleine Muck'' (''The Small Muck'')
* 1982: ''Das Haus in Montevideo'' (''The House in Montevideo'')
* 1983: ''Der fröhliche Weinberg'' (''The Merry Vineyard'')
* 1983: ''Es war die Lerche'' (''It was the Lark'')
* 1984: ''Einen Jux will er sich machen'' (''He will go on a Spree'')
* 1985: ''Max und Moritz'' (''Max and Moritz'')
* 1986: ''Das Wirtshaus im Spessart'' (''The Spessart Inn'')
* 1986/1993/2019: ''Die kleine Hexe'' (The Little Witch)
* 1987: ''Arsen und Spitzenhäubchen'' (''Arsenic and Old Lace'')
* 1987/2013: ''Pippi Langstrumpf'' (''Pippi Longstocking'')
* 1988: ''My Fair Lady''
* 1988: ''Dornröschen'' (''The Sleeping Beauty'')
* 1989: ''Der eingbildetet Kranke'' (''The Imaginary Invalid'')
* 1989: ''Was für'n Zirkus'' (''What a Circus'')
* 1990: ''Das Dschungelbuch'' (''The Jungle Book'')
* 1990: ''Piroschka''
* 1991: ''Don Camillo und Pepone'' (''Don Camillo and Pepone'')
* 1991: ''Kater Mikesch'' (Tomcat Mikesch'')''
* 1992: ''Ronja Räubertochter'' (''Ronja, the Robber's Daughter'')
* 1993: ''Drei Musketiere'' (''The Three Musketeers'')
* 1994: ''Mord im Pfarrhaus'' (''The Murder at the Vicarage'')
* 1995: ''Lieslotte von der Pfalz''
* 1995: ''Die Mausefalle'' (''The Mouse Trap'')
* 1995: ''Biene Maja'' (''Maya the Bee'')
* 1997: ''Der Inspektor kommt'' (''An Inspector Calls'')
* 1998: ''Urmel aus dem Eis'' (''Urmel from the Ice Age'')
* 1999: ''Die Schöne und das Biest'' (''The Beauty and the Beast'')
* 2000: ''Der tolle Tag - Figaros Hochzeit'' (''The Mariage of Figaro'')
* 2000: ''Peter Pan''
* 2001: ''Aladin und die Wunderlampe'' (''Aladin and the Magic Lamp'')
* 2004: ''Der zerbrochene Krug'' (''The Broken Jug'')
* 2004: ''Der kleine Vampir'' (''The Little Vampyre'')
* 2004: ''Crazy''
* 2004: ''Dracula''
* 2005: ''Kabale und Liebe'' (''Intrigue and Love'')
* 2005: ''Anatevka''
* 2006: ''Des Laschder mit dem Zaschter'' (''The Sin of Money'')
* 2006: ''Die aufregenden Abenteuer der AristoKatzen'' (''AristoCats'')
* 2006: ''Ein Sommernachtstraum'' (''A Midsummer Night's Dream'')
* 2007: ''Neues vom Räuber Hotzenplotz'' (''New Adventures of the Robber Hotzenplotz'')
* 2007: ''Andorra''
* 2007: ''Charley's Tante'' (''Charley's Aunt'')
* 2008: ''Die Welle'' (''The Waves)''
* 2008: ''Der Hund von Baskerville'' (''The Hound of the Baskervilles'')
* 2008: ''Was ihr wollt'' (''Twelfe Night, or What you will'')
* 2008: ''Jim Knopf und Lukas der Lokomotivführer'' (''Jim Knopf and Lukas the Train Conductor'')
* 2009: ''Die Schneekönigin'' (''Snow Queen'')
* 2009: ''Ritter Rost'' (''Knight Rust'')
* 2009: ''Hochsaison oder Kunst des Wasserlassens'' (''High Season, or The Art of Letting go'')
* 2010: ''7 Zwerge und Schneewittchen'' (''7 Dwarfs and Snow white'')
* 2010: ''Jetzt nicht, Liebling oder Drüber und Drunter'' (''Not now, Darling, or Topsy-Turvy'')
* 2011: ''Holzers Peepshow'' (''Holzer's Peep Show'')
* 2011: ''Sugar - Manche mögen's heiß'' (''Some like it hot'')
* 2012: ''Ritter Rost geht zur Schule'' (''Knight Rust goes to School'')
* 2012: ''Faust der Tragödie erster Teil'' (''Faust, First Part of the Tragedy'')
* 2012: ''7 Zwerge - Männer allein im Wald'' (''7 Dwarfs - Men along in the Forest'')
* 2013: ''Cabaret''
* 2013: ''Abwechslung ist das ganze Leben'' (''Diversity is all it needs'')
* 2013: ''Die Salzmühle'' (''The Salt Mill'')
* 2014: ''Grimms Tischlein neu gedeckt''
* 2014: ''Sekretärinnen''
* 2015: ''Hänsel und Gretel''
* 2015: ''Traumfrau verzweifelt gesucht''
* 2015: ''Pünktchen und Anton''
* 2015: ''Heiße Ecke''
* 2016: ''Peterchens Mondfahrt''
* 2016: ''Geschichten aus dem Wiener Wald''
* 2016: ''Camping, Camping''
* 2016: ''Nils Holgersson''
* 2017: ''Top Dogs''
* 2017: ''Dr. Jekyll & Mr. Hyde''
* 2017: ''Froschkönig''
* 2018: ''Der kleine Ritter Trenk''
* 2018: ''Ein Käfig voller Narren''
* 2018: ''An der Arche um Acht''
* 2018: ''Shakespeares Wilde Weiber''
* 2019: ''The King's Speech''
* 2019: ''Rumpelstilzchen''
* 2019: ''Viel Lärm um Nichts''
* 2020: ''Bernarda Albas Haus''
* 2021: ''Frohe Weihnachten''
* 2021: ''Der Puppenspieler''
* 2021/2022: ''Der gestiefelte Kater''
* 2022: ''Schtonk!''
* 2022: ''Tratsch im Treppenhaus''
* 2023: ''Cinderella''
* 2023: ''Mord im Orientexpress''
* 2023: ''Sindbad''
* 2023: ''Cyrano de Bergerac''
* 2024: ''Tote Frauen trinken nicht''
* 2024: ''Robin Hood''
* 2024: ''Schlager lügen nicht''

Zimmertheater Mannheim

2025-01-24T11:49:25Z

Meike Wagner: Created page with "See entry Freilichtbühne Mannheim e.V."

See entry [[Freilichtbühne Mannheim e.V.]]

Freilichtbühne Mannheim e.V.

2025-01-24T11:46:51Z

Meike Wagner: Created page with "Freilichtbühne is an amateur theatre performing on an open air stage (732 seats) during the summer months (one production for young audiences, one production for adult audiences) and on the stage of Zimmertheater (83 seats) during autumn and winter. They have a children's club (age 9-14 years, rehearsing weekly) and a youth club (age 14-19 years, rehearsing weekly) and an amateur choir in addition to their acting ensemble. The currently have ca. 400 members. The perform..."

Spieldose. Mechanisches Theater München

2025-01-24T10:16:53Z

Meike Wagner:

[https://www.die-spieldose.de/ Spieldose] is an amateur theatre with a focus on puppetry and object theatre often combined with acting, dance, light show and music.

== History ==
Founded in 1955 by four students of architecture, the Spieldose moved into a theatre venue at Künstlerhaus located at Lenbachplatz in the city centre of Munich in 1961. In 2014 they lost their home of 53 years and moved to a performance space in Werksviertel Mitte near Ostbahnhof in Munich. After the end of their rental contract in 2019 they performed at different venues, including the open air amphitheatre in the English Garden where they annually stage their traditional version of ''Die Geyerwally'' (''The Vulture Wally'') - piece based on a popular novel by the same name written in 1875 by Wilhelmine von Hillern. Free admission is a principle at Spieldose.

== Repertoire ==
They stage mostly their own pieces and original productions. The repertoire stretches from funny pieces to surreal performances, from parodies of crime stories to dadaist dialogue.

* 1957: [https://www.youtube.com/watch?v=GISTH_SQlys ''Ein Mensch''] (''A Human Being'') - a marionette pantomime with music
* 1987: [https://www.youtube.com/watch?v=z3p3xryhROc ''Die Nachtigall''] (''The Nightingale'') - a marionette play after the fairy tale The Chinese Nightingale
* 1990: [https://www.youtube.com/watch?v=70t8YY5mi8k&list=PLGkvQvT6wtBBEr__d435pEhAvZaFATlYR ''Dio 2.0 Konfusionen''] (''Dio 2.0 Confusions'') - black theatre with dance
*1997: [https://www.youtube.com/watch?v=fwcNskoCgps ''Picknick im All''] (''Picknick in Space'') - marionette and object theatre
*1997: [https://www.youtube.com/watch?v=lWSPhushXac ''Spuihansl. A Bayer gegn Dod und Deifi''] (''Johnny the Player. A Bavarian Against Death and Devil'') - Bavarian dialect marionette play with music
*2009: [https://www.youtube.com/playlist?list=PLGkvQvT6wtBA8MU923kq7kQqSap2hSt31 ''Die haarsträubenden Abenteuer des Walter Sack''] (''The Hair-raising Adventures of Walter Sack'') - puppet play
*2009: [https://www.youtube.com/watch?v=sQmJrNcPrwg&list=PLGkvQvT6wtBBDzNHrCsf02qWIerv3BaFm ''Don Giovanni auf dem Dorfe''] (''Don Giovanni in the Village'') - hand puppets
*2011: [https://www.youtube.com/watch?v=dCqLxSKGhPE ''Von einem der auszog das Gruseln zu lernen''] (''One that went into the world to learn to be frightened'') - puppet play with actors
*2015: [https://www.youtube.com/watch?v=qWbUgc8P3Ho&list=PLGkvQvT6wtBBVNbUe6SXiYgv8-KuE9M-C ''Wer dreimal in den Spiegel schaut''] (''Looking three times into the mirror)'' - hand puppets
[https://www.youtube.com/playlist?list=PLGkvQvT6wtBA-zJiLSvk7YkRWI-lq5P9f ''Die Geyerwally'' adaptations] (''The Vulture Wally'', since 2005)

* 2013: ''Die Geyerwally'' - ''Arabische Nächte'' (''Arabian Nights'')
* 2014: ''Die Geyerwally'' - ''Ermittlungen im Sumpf'' (''Investigations in the Swamp'')
* 2015: ''Die Geyerwally'' - ''Welcome dahoam'' (''Welcome at Home'')
* 2016: ''Die Geyerwally'' - ''A Tale of Pride and Prejudice''
* 2017: ''Die Geyerwally'' - ''Minne, Macht & mut'ge Maiden'' (''Love, Power and Courageous Girls'')
* 2018: ''Die G-EY Wall-Y'' - ''Die dunkle Bedrohung'' (''The Dark Danger'')
* 2019: ''Die Geyerwally'' - ''In der Ötztalklinik'' (''In the Ötztal Clinic'')
* 2021/2022: ''Die Geyer-Vally'' - ''Blutrausch in Transtyrolien'' (''Blood Thirst in Transtyrolia'')
* 2023/2024: ''gAIerwally'' - ''Am Rande der Intelligenz'' (''On the Edge of Intelligence'')

Spieldose. Mechanisches Theater München

2025-01-24T10:13:55Z

Meike Wagner:

[https://www.die-spieldose.de/ Spieldose] is an amateur theatre with a focus on puppetry and object theatre often combined with acting, dance, light show and music.

== History ==
Founded in 1955 by four students of architecture, the Spieldose moved into a theatre venue at Künstlerhaus located at Lenbachplatz in the city centre of Munich in 1961. In 2014 they lost their home of 53 years and moved to a performance space in Werksviertel Mitte near Ostbahnhof in Munich. After the end of their rental contract in 2019 they performed at different venues, including the open air amphitheatre in the English Garden where they annually stage their traditional version of ''Die Geyerwally'' (''The Vulture Wally'') - piece based on a popular novel by the same name written in 1840 by Wilhelmine von Hillern. Free admission is a principle at Spieldose.

== Repertoire ==
They stage mostly their own pieces and original productions. The repertoire stretches from funny pieces to surreal performances, from parodies of crime stories to dadaist dialogue.

* 1957: [https://www.youtube.com/watch?v=GISTH_SQlys ''Ein Mensch''] (''A Human Being'') - a marionette pantomime with music
* 1987: [https://www.youtube.com/watch?v=z3p3xryhROc ''Die Nachtigall''] (''The Nightingale'') - a marionette play after the fairy tale The Chinese Nightingale
* 1990: [https://www.youtube.com/watch?v=70t8YY5mi8k&list=PLGkvQvT6wtBBEr__d435pEhAvZaFATlYR ''Dio 2.0 Konfusionen''] (''Dio 2.0 Confusions'') - black theatre with dance
*1997: [https://www.youtube.com/watch?v=fwcNskoCgps ''Picknick im All''] (''Picknick in Space'') - marionette and object theatre
*1997: [https://www.youtube.com/watch?v=lWSPhushXac ''Spuihansl. A Bayer gegn Dod und Deifi''] (''Johnny the Player. A Bavarian Against Death and Devil'') - Bavarian dialect marionette play with music
*2009: [https://www.youtube.com/playlist?list=PLGkvQvT6wtBA8MU923kq7kQqSap2hSt31 ''Die haarsträubenden Abenteuer des Walter Sack''] (''The Hair-raising Adventures of Walter Sack'') - puppet play
*2009: [https://www.youtube.com/watch?v=sQmJrNcPrwg&list=PLGkvQvT6wtBBDzNHrCsf02qWIerv3BaFm ''Don Giovanni auf dem Dorfe''] (''Don Giovanni in the Village'') - hand puppets
*2011: [https://www.youtube.com/watch?v=dCqLxSKGhPE ''Von einem der auszog das Gruseln zu lernen''] (''One that went into the world to learn to be frightened'') - puppet play with actors
*2015: [https://www.youtube.com/watch?v=qWbUgc8P3Ho&list=PLGkvQvT6wtBBVNbUe6SXiYgv8-KuE9M-C ''Wer dreimal in den Spiegel schaut''] (''Looking three times into the mirror)'' - hand puppets
[https://www.youtube.com/playlist?list=PLGkvQvT6wtBA-zJiLSvk7YkRWI-lq5P9f ''Die Geyerwally'' adaptations] (''The Vulture Wally'', since 2005)

* 2013: ''Die Geyerwally'' - ''Arabische Nächte'' (''Arabian Nights'')
* 2014: ''Die Geyerwally'' - ''Ermittlungen im Sumpf'' (''Investigations in the Swamp'')
* 2015: ''Die Geyerwally'' - ''Welcome dahoam'' (''Welcome at Home'')
* 2016: ''Die Geyerwally'' - ''A Tale of Pride and Prejudice''
* 2017: ''Die Geyerwally'' - ''Minne, Macht & mut'ge Maiden'' (''Love, Power and Courageous Girls'')
* 2018: ''Die G-EY Wall-Y'' - ''Die dunkle Bedrohung'' (''The Dark Danger'')
* 2019: ''Die Geyerwally'' - ''In der Ötztalklinik'' (''In the Ötztal Clinic'')
* 2021/2022: ''Die Geyer-Vally'' - ''Blutrausch in Transtyrolien'' (''Blood Thirst in Transtyrolia'')
* 2023/2024: ''gAIerwally'' - ''Am Rande der Intelligenz'' (''On the Edge of Intelligence'')

Spieldose. Mechanisches Theater München

2025-01-24T09:51:00Z

Meike Wagner:

Spieldose. Mechanisches Theater München

2025-01-24T09:35:46Z

Meike Wagner:

Grassauer Bauernbühne e.V.

2025-01-24T09:25:44Z

Meike Wagner:

The [https://www.grassauer-bauernbuehne.de/ Grassauer Bauernbühne e.V.] (literal translation: Grassau Farmers' Theatre) was founded in 1965. The group first performed the piece "Die schwarze Katz" ("The Black Cat") on 8 August 1965 in the hall of the inn "Zur Post" in Grassau. Today it performs regularly in the Hefter-Kultur-Saal in Grassau.

== History ==
Theo Huber (first president and director) initiated theatre activities in February 1965 and founded a theatre association together with the founding members Josef Noichl, Liesl Schmaus, Werner Haslinger, Hans Georg Gnadl, Agathe Huber, Karl-Heinz Lehner (treasurer), Theo Steininger, Linde Laubhuber, Margit Domaschka and Manfred Huber. Later also joined the prompter Maria Ertl, Anderl Laubhuber (make up) and the stage technician Hans Zusann.

== Repertoire ==
The Grassauer Bauernbühne plays comedy in dialect, preferably with topics related to village and farmers' life.

* 2010: ''Der ausgschmierte Hochzeiter'' (''The Hoodwinked Groom'') by Felix Buchmair
* 2011: ''Ein Nest für's Tonerl'' (''A Home for Tonerl'') by Ulla Kling
* 2012: ''Eine fast sündige Nacht'' (''An Almost Sinful Night'') by Hans Gnade
* 2012: ''Der Gspensterhof'' (''The Ghost Farm'') by Erika Naumann
* 2013: ''Sayonara Huglfing'' (''Sayonara Huglfing'') by Ulla Kling
* 2013: ''Die Notlüge oder Lediglich ledig'' (''The White Lie or Just Single'') by Ute Tretter-Schlickerr
* 2013/2016: ''Und des am Heiligen Abend'' (''Just on Christmas Eve'') by Andi Kern
* 2014: ''Der Vampir von Zwicklbach'' (''The Vampyre of Zwicklbach'') by Ralph Wallner
* 2014: ''Feurio - Aufruhr im Spritzenhaus'' (''Fire - Revolt in the Fire Engine House'') by Jürgen Schuster
* 2015: ''Die Wunschbraut oder Wer suchet der findet'' (''The Dream Bride or The One who searches will find'') by Karl Schuhbeck
* 2015: ''Bubblegum und Brillianten'' (''Bubblegum and Diamonds'') by Jürgen Baumgarten
* 2016: ''Die zauberhafte Glaskugel'' (''The Magic Glass Ball'') by Hans Schimmel
* 2016: ''Aber, aber, Herr Pfarrer'' (''No, no, Mr. Pfarrer'') by Hans Schimmel
* 2017: Malefitz, Donnerblitz (Misdeed and Thunderbolt) by Ralph Wallner
* 2017: ''Der Verdrussvetter'' (''The Annoying Cousin'') by Klaus Kern
* 2018: ''Meine Leiche, deine Leiche'' (''My Corps, your Corps'') by Christine Steinwasser
* 2018: ''Drei Bauern und ein Baby'' (''Three Farmers and a Baby'') by Jürgen Schuster
* 2019: ''Die wilde Kathi'' (''The Wild Kathi'') by Willi Stock
* 2019: ''Deifi Sparifankerl'' (''The Devil'') by Ralph Wallner
* 2020: ''Chaos im Bestattungshaus'' (''Chaos in the Funeral Home'') by Winnie Abel
* 2022: ''Residenz Schloss und Riegel'' (''Residence Lock and Bolt'') by Winnie Abel
* 2022: ''Umweg auf dem Jakobsweg oder Bauernschläue'' (''A Deviation from Pilgrimage or Farmer's Cleverness'')
* 2023: ''Da Himme wart ned'' (''Heaven doesn't wait'') by Sebastian Kolb
* 2024: ''Banditnbagasch'' (''Gang of Robbers'') by Ralph Wallner
* 2024: ''Kaviar trifft Currywurscht'' (''Caviar meets Curry Sausage'') by Winnie Abel
* 2025: ''Die drei Eisbären'' (''The Three Polar Bears'') by Maximilian Vitus

== Members ==
Current members are

* Mona Pavlak (president)
* Martin Kropf (2nd president)
* Klaus Kirchleitner (treasurer)
* Marianne Strehhuber (secretary)
* Andrea Hagl (counselor)
* Albert Strehhuber (counselor)
* Bert Küfner (counselor)
* Josef (Sepp) Noichl (honorary member)
* Renate Halbmayer (performer)
* Hans Laubhuber (performer)
* Regina Petermüller (performer)
* Monika Noichl (performer)
* Michael Strehhuber (performer)
* Theo Steininger (performer)
* Andrea Feigl (performer)
* Melanie Meyer (performer)
* Hanna Küfner (performer)
* Roman Polleichtner (performer)
* Theresa Strehhuber (performer)
* Gabi Braun (performer)
* Magdalena Genghammer (performer)
* Sonja Hofmann (performer)
* Josef (Sepp) Brunnhuber (performer)
* Claudia Richter (performer)

Theatergesellschaft Urania

2024-05-03T10:20:58Z

Meike Wagner: /* Sources */

Theatergesellschaft Urania (1792-1944) was a Berlin-based theatre association. Over its long history of existence it developed from a small group of amateur performers to one of the most important German amateur theatre associations of the 19th century.
[[File:Bildschirmfoto 2022-12-21 um 10.52.36.jpg|thumb|Detail from Theatre Bill, 1827]]

== History ==
Urania was founded in 1792 by eight young people interested in reading and performing drama. Their first performance was "Menschenhaß und Reue" by [[August von Kotzebue]] that later became a signature piece of the theatre association performed at important occasions such as jubilees. The first members belonged to the lower middle classes - involved were shopkeeper assistants, servants, a carpenter and music students. Their first performance venue was located in the private home of the musician Baumann, Zimmerstr. 65. In 1797 they rented a small theatre (ca. 17,5m x 5,8m) with one theatre box in the middle and galleries to the sides that was newly built after their needs in the Kommandantenstr. 72. In 1802 a new theatre venue was created at the same location hosting up to 300 spectators.

In 1834 a new theatre venue was built at the same location, it was named Strilack-Theatre after the landlord Urania rented from. The big auditorium hosted up to 600 spectator, this is a comparable size to today's Gorki Theatre in Berlin. At this historical moment Urania's theatre was the fourth largest theatre venue (after the Royal Opera, the Royal Theatre and the Königstädtisches Theater) in the city. The theatre association firmly established itself in this theatre venue that also comprised meeting spaces, a ball room and changing rooms. In 1871 though Strilack's heirs canceled the contract with Urania and from then on the theatre association lacked a proper theatre venue, moving to different temporary venues over the next years. During the final period of the theatre association it was hosted by the architects' union in Berlin allowing them to set up a movable theatre stage on performing nights. During the year 1944 the association was gradually dissolved due to war detriments. It remains unclear when exactly their activities ended.

== Repertoire ==
Bourgeois drama and light drama dominated Urania's repertoire. Plays from August von Kotzebue and August Wilhelm Iffland were most popular for Urania and other amateur theatres in Germany. Particular small one-act plays and other easy pieces that Kotzebue specifically wrote for amateur theatricals (Almanach dramatischer Spiele, 1803-1820) were often performed. But also lighter opera genres, like Singspiel and opera buffa were sometimes performed depending on musical skills of the membership and the economy of the association that needed to pay for extra musicians and singers.

== Membership ==
In 1794 Urania had 16 full members, from 1802 on the number of members were around 60 dividing the membership between performing and non-performing members from then on. Due to an increase in the cost of the member fees the social strata of membership shifted towards middle and upper middle class until the end of the 19th century. Amongst the early members was the family of the famous composer Albert Lortzing. His parents started their acting career here, and also [https://de.wikipedia.org/wiki/Albert_Lortzing Albert Lortzing] performed on Urania's stage as a child. Many famous actors of the time can be linked to Urania as their 'training ground' for a professional career. There was a constant flow of Urania-trained amateur debutants to the Royal Theatre and other court theatres in Germany.

In the beginning all members also performed on stage, with a growing membership a division between theatre audience and performing members was established. Women were not allowed to become full members until 1893 but were involved as 'performing ladies' from the beginning. They were allowed to also take part in all social activities of the association but did not have any voting rights or the right to participate in the weekly 'conferences'. Full members received a number of tickets for their family members and also had the possibility to invite friends by adding them to the 'foreigners' list' (guest list). Often this guest list became the object of negotiations since it opened up a possibility to freely distribute tickets to a wider public. The association though had a keen interest of keeping their status of 'private theatricals' always being under close scrutiny of the police authorities. Also any rumor of a free sale of tickets brought them into trouble with the competing Royal Theatre, often its directors tried to limit the private and amateur theatricals in the city because of a fear that their own business be damaged.

While full members enjoyed democratic rights (voting, free speech, participation) within in the frame of the theatre association, Urania set strict limits for working class people and members of the Jewish community. They were not allowed to enter the theatre association until 1871 when the national constitution of the German Reich set a new frame for full citizenship for all groups of society.

=== Prominent Members of Urania ===

* Carl Friedrich Rungenhagen (musician, composer)
* Albert Lortzing (composer)
* Carl Duncker (publisher)
* Louis Angely (dramatist, actor, director)
* Friedrich Haase (actor)
* Pauline Ulrich (actress)
* Ernst Possart (actor)
* Richard Kahle (actor)
* Max Loewenfeld (actor, theatre manager)
* Luise Wolff (actress)
* Adalbert Makowsky (actor)
* Paul Brock (actor, director)
* Louise von Holtei (geb. Rogée, actress)

== Sources ==

* Motschmann, Uta, "Die private Öffentlichkeit - Privattheater in Berlin um 1800," in ''Der gesellschaftliche Wandel um 1800 und das Berliner Nationaltheater (= Berliner Klassik. Eine Großstadtkultur um 1800, 15),'' ed. by Klaus Gerlach, Hannover: Wehrhahn, 2009, S. 61–84.
* Wagner, Meike, "Das Spiel der Liebhaber. Ästhetische Bildung im bürgerlichen Amateur-Schauspiel," in ''Forum Modernes Theater'', Heft 1, 2020, 7-25.
* Wagner, Meike, "Schöpferin glücklicher Stunden…“ – Utopische Spielräume von Amateur-Schauspielerinnen nach 1800," in ''Forum Modernes Theater'', Heft 1-2, 2022, 177-190.
[[Category:Germany]]
[[Category:Clubs, Societies and Institutions]]

Theatergesellschaft Bad Endorf

2024-05-03T10:07:54Z

Meike Wagner:

The [https://www.theater-endorf.de Theatergesellschaft Bad Endorf e.V.] is an amateur theatre that started performing in 1790 and hence counts as the third oldest theatre in Bavaria. It has a specialization in religious drama and performs every year from Pentecoast on for ca. 5 weeks, hosting up to 5000 spectators during a season. The theatre society is located on Rosenheimer Straße 6, Bad Endorf. Performances normally last several hours and involve large casts of ca. 60 actors. All set designs and costumes are produced by the members. The Bavarian State Ministery of Education and Culture mentioned the amateur theatre valuable in regard to popular education and artistic practice.

== History ==
In a time period at the end of eighteenth century when in Bavaria the church and state authorities largely repressed religious and passion play, theatre amateurs in the village of Bad Endorf/Teisenheim performed in 1790 the religious play „Thraurige Vorstellung dess Erschrecklichen Jingsten Gerichts“ („Saddening Representation of the Horrible Last Judgement“).<ref>A thorough analysis and discussion of the play as performed in Bad Endorf is found in Edgar Harvolk, ''Das Endorser Volksschauspiel'', Rosenheim 1974, ch. II "Das Endorfer Jüngst-Gericht-Spiel", 24-86.</ref> The play was loosely inspired by the themes of "Everyman" presenting the horrible consequences of falling to the temptations of evil. The cast consisted of 27 people in addition to a large number of extras for the group of "the righteous" and "the godless" in the grande finale.<ref>Harvolk, ''Das Endorfer Volksschauspiel'', 51.</ref> After this first outdoor performance the pheasant theatre (Bauerntheater) continued to stage religious plays, historic knight and robber plays ("Ritter- und Räuberstücke") in diverse local locations (local inns, yards etc.). The ambition to follow the Oberammergau example and engage in passion play from 1817 on was continually blocked by the church authorities that did not deem the pheasants worth staging the passion of Christ.<ref>Edgar Harvolk, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990, 5-6.</ref> In 1866 a group of 12 village people (pheasants, inn keepers, merchants) initiated a formal theatre association ("Theatergesellschaft Bad Endorf") and raised money to start building their own theatre. One of their success performances was the religious play of "The Egyptian Joseph" ("Der ägyptische Joseph") that included music performance and the staging of tableaux vivants "in the style of the passion plays in Oberammergau"<ref>Subtitle on a theatre bill from 1884, quoted in Harvolk, ''Die Endorser Volksschauspiele'', 8.</ref>. In 1958 the theatre was remodelled and hosts now up to 534 spectators. Since the end oft he 1960s the amateur theatre also performed comedies and farces. In 1991 it received the Kulturpreis (cultural prize) from the county of Rosenheim.

== Members ==

* Paula Aiblinger
* Konrad Schlaipfer
* Annemarie Ramoser
* Julia Hofmann
* Werner Hofmann
* Barbara Bichler
* Andrea Krug
* Katharina Plank
* Martina Seehuber-Liegl
* Marlene Dickl
* Emmeram Aiblinger
* Josef Mayer
* Markus Mädler
* Flo Schauer
* Kathi Plank

== Repertoire ==
They regularly performed plays by the following authors:

* 1949-1955 Christian Mayrl; former clockmaker from Eggstätt (7 plays)
* 1976-1995 Hubert Bomba from Bad Endorf (13 plays)
* 2000 Margarethe Janssen from Waldkraiburg (1 play)
* 2007, 2010, 2012 & 2014 Horst Rankl from Rosenheim (4 plays)

Religious play performed between 1945 and 1990:

* Die hl. Elisabeth von Thüringen, 1946, 1956, 1972, 1985
* Saulus, 1947, 1966, 1982
* Der verlorene Sohn, 1948, 1977
* Die sel. Irmengard, 1949, 1968, 1983
* Der Ägyptische Joseph, 1950, 1979
* Franziskus von Assisi, 1951, 1967, 1980
* Margaretha von Cortona, 1952, 1969
* Nikolaus von Flüe, 1953, 1973,
* Thomas Morus, 1954, 1976
* Bruder Konrad von Parzham, 1955, 1970, 1984
* Maria Lourdes, 1957, 1974, 1988
* Hedwig von Andechs, 1958, 1975
* Die hl. Nothburga, 1959, 1971,1987
* Der hl. Pfarrer von Ars, 1960, 1989
* Klara von Assisi, 1961
* Klemens Maria Hofbauer, 1962
* Mutter Monika und ihr Sohn Augustinus, 1963, 1981
* Königin Adelheid, 1964, 1978
* Der Rufer Gottes - Kolping, 1965
* Saulus, 1966, 1982
* Franziskus von Aissisi, 1967, 1980
* Der hl. Stephanus, 1986
* Moses, 1990

Recently performed plays:

* Gerhard Prell: „Martin Luther“ (religious play)
* [[Paula Aiblinger]]: Bruder Konrad (religious play)
* Paula Aiblinger: Hedwig von Andechs (religious play)
* [[Julia and Werner Hofmann]]: Irmengard vom Chiemsee (religious play)
* Julia and Werner Hofmann: Die Musketiere (for families)
* [[Erich Eckert]], Hubert Bomba, Elisabeth Neubauer: Der verlorene Sohn (religious play)
* [[Franz Schauer]]: „Die Pfiffige Urschl“ (comedy)
* [[Ulla Kling]]: A Leich zum Kaffee (comedy)
* [[Carl Borro Schwerla]]: Graf Schorschi (comedy)
* [[Georg Lohmeier]]: Königlich Bayerisches Amtsgericht (comedy)
* [[Marianne Santl]]: Herkules der Musterstier (comedy)
* [[Ludwig Anzensgruber]]: Doppelselbstmord. Ko des sei? (comedy)
* [[Howard Pyle]]: Robin Hood (for children)
* Hirtenstück
* Astrid Lindgren: Ronja Räubertochter (for children)

== Sources ==

* Harvolk, Edgar, ''Das Endorfer Volksschauspiel'', Rosenheim 1974.
* Harvolk, Edgar, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990.

== Weblinks ==

* [https://www.theater-endorf.de/ Official Website]

== References ==
[[Category:Germany]]
[[Category:Clubs, Societies and Institutions]]

Theatergesellschaft Bad Endorf

2024-05-03T10:03:57Z

Meike Wagner: /* History */

The [https://www.theater-endorf.de Theatergesellschaft Bad Endorf e.V.] is a amateur theatre that was founded in 1790 and counts as the third oldest theatre in Bavaria. It has a specialization in religious drama and performs every year from Pentecoast on for ca. 5 weeks, hosting up to 5000 spectators during a season. The theatre society is located on Rosenheimer Straße 6, Bad Endorf. Performances normally last several hours and involve large casts of ca. 60 actors. All set designs and costumes are produced by the members. The Bavarian State Ministery of Education and Culture mentioned the amateur theatre valuable in regard to popular education and artistic practice.

== History ==
In a time period at the end of eighteenth century when in Bavaria the church and state authorities largely repressed religious and passion play, theatre amateurs in the village of Bad Endorf/Teisenheim performed in 1790 the religious play „Thraurige Vorstellung dess Erschrecklichen Jingsten Gerichts“ („Saddening Representation of the Horrible Last Judgement“).<ref>A thorough analysis and discussion of the play as performed in Bad Endorf is found in Edgar Harvolk, ''Das Endorser Volksschauspiel'', Rosenheim 1974, ch. II "Das Endorfer Jüngst-Gericht-Spiel", 24-86.</ref> The play was loosely inspired by the themes of "Everyman" presenting the horrible consequences of falling to the temptations of evil. The cast consisted of 27 people in addition to a large number of extras for the group of "the righteous" and "the godless" in the grande finale.<ref>Harvolk, ''Das Endorfer Volksschauspiel'', 51.</ref> After this first outdoor performance the pheasant theatre (Bauerntheater) continued to stage religious plays, historic knight and robber plays ("Ritter- und Räuberstücke") in diverse local locations (local inns, yards etc.). The ambition to follow the Oberammergau example and engage in passion play from 1817 on was continually blocked by the church authorities that did not deem the pheasants worth staging the passion of Christ.<ref>Edgar Harvolk, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990, 5-6.</ref> In 1866 a group of 12 village people (pheasants, inn keepers, merchants) initiated a formal theatre association ("Theatergesellschaft Bad Endorf") and raised money to start building their own theatre. One of their success performances was the religious play of "The Egyptian Joseph" ("Der ägyptische Joseph") that included music performance and the staging of tableaux vivants "in the style of the passion plays in Oberammergau"<ref>Subtitle on a theatre bill from 1884, quoted in Harvolk, ''Die Endorser Volksschauspiele'', 8.</ref>. In 1958 the theatre was remodelled and hosts now up to 534 spectators. Since the end oft he 1960s the amateur theatre also performed comedies and farces. In 1991 it received the Kulturpreis (cultural prize) from the county of Rosenheim.

== Members ==

* Paula Aiblinger
* Konrad Schlaipfer
* Annemarie Ramoser
* Julia Hofmann
* Werner Hofmann
* Barbara Bichler
* Andrea Krug
* Katharina Plank
* Martina Seehuber-Liegl
* Marlene Dickl
* Emmeram Aiblinger
* Josef Mayer
* Markus Mädler
* Flo Schauer
* Kathi Plank

== Repertoire ==
They regularly performed plays by the following authors:

* 1949-1955 Christian Mayrl; former clockmaker from Eggstätt (7 plays)
* 1976-1995 Hubert Bomba from Bad Endorf (13 plays)
* 2000 Margarethe Janssen from Waldkraiburg (1 play)
* 2007, 2010, 2012 & 2014 Horst Rankl from Rosenheim (4 plays)

Religious play performed between 1945 and 1990:

* Die hl. Elisabeth von Thüringen, 1946, 1956, 1972, 1985
* Saulus, 1947, 1966, 1982
* Der verlorene Sohn, 1948, 1977
* Die sel. Irmengard, 1949, 1968, 1983
* Der Ägyptische Joseph, 1950, 1979
* Franziskus von Assisi, 1951, 1967, 1980
* Margaretha von Cortona, 1952, 1969
* Nikolaus von Flüe, 1953, 1973,
* Thomas Morus, 1954, 1976
* Bruder Konrad von Parzham, 1955, 1970, 1984
* Maria Lourdes, 1957, 1974, 1988
* Hedwig von Andechs, 1958, 1975
* Die hl. Nothburga, 1959, 1971,1987
* Der hl. Pfarrer von Ars, 1960, 1989
* Klara von Assisi, 1961
* Klemens Maria Hofbauer, 1962
* Mutter Monika und ihr Sohn Augustinus, 1963, 1981
* Königin Adelheid, 1964, 1978
* Der Rufer Gottes - Kolping, 1965
* Saulus, 1966, 1982
* Franziskus von Aissisi, 1967, 1980
* Der hl. Stephanus, 1986
* Moses, 1990

Recently performed plays:

* Gerhard Prell: „Martin Luther“ (religious play)
* [[Paula Aiblinger]]: Bruder Konrad (religious play)
* Paula Aiblinger: Hedwig von Andechs (religious play)
* [[Julia and Werner Hofmann]]: Irmengard vom Chiemsee (religious play)
* Julia and Werner Hofmann: Die Musketiere (for families)
* [[Erich Eckert]], Hubert Bomba, Elisabeth Neubauer: Der verlorene Sohn (religious play)
* [[Franz Schauer]]: „Die Pfiffige Urschl“ (comedy)
* [[Ulla Kling]]: A Leich zum Kaffee (comedy)
* [[Carl Borro Schwerla]]: Graf Schorschi (comedy)
* [[Georg Lohmeier]]: Königlich Bayerisches Amtsgericht (comedy)
* [[Marianne Santl]]: Herkules der Musterstier (comedy)
* [[Ludwig Anzensgruber]]: Doppelselbstmord. Ko des sei? (comedy)
* [[Howard Pyle]]: Robin Hood (for children)
* Hirtenstück
* Astrid Lindgren: Ronja Räubertochter (for children)

== Sources ==

* Harvolk, Edgar, ''Das Endorfer Volksschauspiel'', Rosenheim 1974.
* Harvolk, Edgar, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990.

== Weblinks ==

* [https://www.theater-endorf.de/ Official Website]

== References ==
[[Category:Germany]]
[[Category:Clubs, Societies and Institutions]]

Theatergesellschaft Bad Endorf

2024-05-03T09:57:43Z

Meike Wagner: /* Repertoire */

The [https://www.theater-endorf.de Theatergesellschaft Bad Endorf e.V.] is a amateur theatre that was founded in 1790 and counts as the third oldest theatre in Bavaria. It has a specialization in religious drama and performs every year from Pentecoast on for ca. 5 weeks, hosting up to 5000 spectators during a season. The theatre society is located on Rosenheimer Straße 6, Bad Endorf. Performances normally last several hours and involve large casts of ca. 60 actors. All set designs and costumes are produced by the members. The Bavarian State Ministery of Education and Culture mentioned the amateur theatre valuable in regard to popular education and artistic practice.

== History ==
In a time period at the end of eighteenth century when in Bavaria the church and state authorities largely repressed religious and passion play, theatre amateurs in the village of Bad Endorf/Teisenheim performed in 1790 the religious play „Thraurige Vorstellung dess Erschrecklichen Jingsten Gerichts“ („Saddening Representation of the Horrible Last Judgement“).<ref>A thorough analysis and discussion of the play as performed in Bad Endorf is found in Edgar Harvolk, ''Das Endorser Volksschauspiel'', Rosenheim 1974, ch. II "Das Endorfer Jüngst-Gericht-Spiel", 24-86.</ref> The play was loosely inspired by the themes of "Everyman" presenting the horrible consequences of falling to the temptations of evil. The cast consisted of 27 people in addition to a large number of extras for the group of "the righteous" and "the godless" in the grande finale.<ref>Harvolk, ''Das Endorfer Volksschauspiel'', 51.</ref> After this first outdoor performance the pheasant theatre (Bauerntheater) continued to stage religious plays, historic knight and robber plays in diverse local locations (local inns, yards etc.). The ambition to follow the Oberammergau example and engage in passion play from 1817 on was continually blocked by the church authorities that did not deem the pheasants worth staging the passion of Christ.<ref>Edgar Harvolk, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990, 5-6.</ref> In 1866 a group of 12 village people (pheasants, inn keepers, merchants) initiated a formal theatre association ("Theatergesellschaft Bad Endorf") and raised money to start building their own theatre. One of their success performances was the religious play of "The Egyptian Joseph" ("Der ägyptische Joseph") that included music performance and the staging of tableaux vivants "in the style of the passion plays in Oberammergau"<ref>Subtitle on a theatre bill from 1884, quoted in Harvolk, ''Die Endorser Volksschauspiele'', 8.</ref>. In 1958 the theatre was remodelled and hosts now up to 534 spectators. Since the end oft he 1960s the amateur theatre also performed comedies and farces. In 1991 it received the Kulturpreis (cultural prize) from the county of Rosenheim.

== Members ==

* Paula Aiblinger
* Konrad Schlaipfer
* Annemarie Ramoser
* Julia Hofmann
* Werner Hofmann
* Barbara Bichler
* Andrea Krug
* Katharina Plank
* Martina Seehuber-Liegl
* Marlene Dickl
* Emmeram Aiblinger
* Josef Mayer
* Markus Mädler
* Flo Schauer
* Kathi Plank

== Repertoire ==
They regularly performed plays by the following authors:

* 1949-1955 Christian Mayrl; former clockmaker from Eggstätt (7 plays)
* 1976-1995 Hubert Bomba from Bad Endorf (13 plays)
* 2000 Margarethe Janssen from Waldkraiburg (1 play)
* 2007, 2010, 2012 & 2014 Horst Rankl from Rosenheim (4 plays)

Religious play performed between 1945 and 1990:

* Die hl. Elisabeth von Thüringen, 1946, 1956, 1972, 1985
* Saulus, 1947, 1966, 1982
* Der verlorene Sohn, 1948, 1977
* Die sel. Irmengard, 1949, 1968, 1983
* Der Ägyptische Joseph, 1950, 1979
* Franziskus von Assisi, 1951, 1967, 1980
* Margaretha von Cortona, 1952, 1969
* Nikolaus von Flüe, 1953, 1973,
* Thomas Morus, 1954, 1976
* Bruder Konrad von Parzham, 1955, 1970, 1984
* Maria Lourdes, 1957, 1974, 1988
* Hedwig von Andechs, 1958, 1975
* Die hl. Nothburga, 1959, 1971,1987
* Der hl. Pfarrer von Ars, 1960, 1989
* Klara von Assisi, 1961
* Klemens Maria Hofbauer, 1962
* Mutter Monika und ihr Sohn Augustinus, 1963, 1981
* Königin Adelheid, 1964, 1978
* Der Rufer Gottes - Kolping, 1965
* Saulus, 1966, 1982
* Franziskus von Aissisi, 1967, 1980
* Der hl. Stephanus, 1986
* Moses, 1990

Recently performed plays:

* Gerhard Prell: „Martin Luther“ (religious play)
* [[Paula Aiblinger]]: Bruder Konrad (religious play)
* Paula Aiblinger: Hedwig von Andechs (religious play)
* [[Julia and Werner Hofmann]]: Irmengard vom Chiemsee (religious play)
* Julia and Werner Hofmann: Die Musketiere (for families)
* [[Erich Eckert]], Hubert Bomba, Elisabeth Neubauer: Der verlorene Sohn (religious play)
* [[Franz Schauer]]: „Die Pfiffige Urschl“ (comedy)
* [[Ulla Kling]]: A Leich zum Kaffee (comedy)
* [[Carl Borro Schwerla]]: Graf Schorschi (comedy)
* [[Georg Lohmeier]]: Königlich Bayerisches Amtsgericht (comedy)
* [[Marianne Santl]]: Herkules der Musterstier (comedy)
* [[Ludwig Anzensgruber]]: Doppelselbstmord. Ko des sei? (comedy)
* [[Howard Pyle]]: Robin Hood (for children)
* Hirtenstück
* Astrid Lindgren: Ronja Räubertochter (for children)

== Sources ==

* Harvolk, Edgar, ''Das Endorfer Volksschauspiel'', Rosenheim 1974.
* Harvolk, Edgar, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990.

== Weblinks ==

* [https://www.theater-endorf.de/ Official Website]

== References ==
[[Category:Germany]]
[[Category:Clubs, Societies and Institutions]]

Theatergesellschaft Bad Endorf

2024-05-03T09:51:07Z

Meike Wagner: /* Weblinks */

The [https://www.theater-endorf.de Theatergesellschaft Bad Endorf e.V.] is a amateur theatre that was founded in 1790 and counts as the third oldest theatre in Bavaria. It has a specialization in religious drama and performs every year from Pentecoast on for ca. 5 weeks, hosting up to 5000 spectators during a season. The theatre society is located on Rosenheimer Straße 6, Bad Endorf. Performances normally last several hours and involve large casts of ca. 60 actors. All set designs and costumes are produced by the members. The Bavarian State Ministery of Education and Culture mentioned the amateur theatre valuable in regard to popular education and artistic practice.

== History ==
In a time period at the end of eighteenth century when in Bavaria the church and state authorities largely repressed religious and passion play, theatre amateurs in the village of Bad Endorf/Teisenheim performed in 1790 the religious play „Thraurige Vorstellung dess Erschrecklichen Jingsten Gerichts“ („Saddening Representation of the Horrible Last Judgement“).<ref>A thorough analysis and discussion of the play as performed in Bad Endorf is found in Edgar Harvolk, ''Das Endorser Volksschauspiel'', Rosenheim 1974, ch. II "Das Endorfer Jüngst-Gericht-Spiel", 24-86.</ref> The play was loosely inspired by the themes of "Everyman" presenting the horrible consequences of falling to the temptations of evil. The cast consisted of 27 people in addition to a large number of extras for the group of "the righteous" and "the godless" in the grande finale.<ref>Harvolk, ''Das Endorfer Volksschauspiel'', 51.</ref> After this first outdoor performance the pheasant theatre (Bauerntheater) continued to stage religious plays, historic knight and robber plays in diverse local locations (local inns, yards etc.). The ambition to follow the Oberammergau example and engage in passion play from 1817 on was continually blocked by the church authorities that did not deem the pheasants worth staging the passion of Christ.<ref>Edgar Harvolk, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990, 5-6.</ref> In 1866 a group of 12 village people (pheasants, inn keepers, merchants) initiated a formal theatre association ("Theatergesellschaft Bad Endorf") and raised money to start building their own theatre. One of their success performances was the religious play of "The Egyptian Joseph" ("Der ägyptische Joseph") that included music performance and the staging of tableaux vivants "in the style of the passion plays in Oberammergau"<ref>Subtitle on a theatre bill from 1884, quoted in Harvolk, ''Die Endorser Volksschauspiele'', 8.</ref>. In 1958 the theatre was remodelled and hosts now up to 534 spectators. Since the end oft he 1960s the amateur theatre also performed comedies and farces. In 1991 it received the Kulturpreis (cultural prize) from the county of Rosenheim.

== Members ==

* Paula Aiblinger
* Konrad Schlaipfer
* Annemarie Ramoser
* Julia Hofmann
* Werner Hofmann
* Barbara Bichler
* Andrea Krug
* Katharina Plank
* Martina Seehuber-Liegl
* Marlene Dickl
* Emmeram Aiblinger
* Josef Mayer
* Markus Mädler
* Flo Schauer
* Kathi Plank

== Repertoire ==
They regularly performed plays by the following authors:

* 1949-1955 Christian Mayrl; former clockmaker from Eggstätt (7 plays)
* 1976-1995 Hubert Bomba from Bad Endorf (13 plays)
* 2000 Margarethe Janssen from Waldkraiburg (1 play)
* 2007, 2010, 2012 & 2014 Horst Rankl from Rosenheim (4 plays)

Religious play performed between 1945 and 1990:

* Die hl. Elisabeth von Thüringen, 1946, 1956, 1972, 1985
* Saulus, 1947, 1966, 1982
* Der verlorene Sohn, 1948, 1977
* Die sel. Irmengard, 1949, 1968, 1983
* Der Ägyptische Joseph, 1950, 1979
* Franziskus von Assisi, 1951, 1967, 1980
* Margaretha von Cortona, 1952, 1969
* Nikolaus von Flüe, 1953, 1973,
* Thomas Morus, 1954, 1976
* Bruder Konrad von Parzham, 1955, 1970, 1984
* Maria Lourdes, 1957, 1974, 1988
* Hedwig von Andechs, 1958, 1975
* Die hl. Nothburga, 1959, 1971,1987
* Der hl. Pfarrer von Ars, 1960, 1989
* Klara von Assisi, 1961
* Klemens Maria Hofbauer, 1962
* Mutter Monika und ihr Sohn Augustinus, 1963, 1981
* Königin Adelheid, 1964, 1978
* Der Rufer Gottes - Kolping, 1965
* Saulus, 1966, 1982
* Franziskus von Aissisi, 1967, 1980
* Der hl. Stephanus, 1986
* Moses, 1990

Recently performed plays:

* Gerhard Prell: „Martin Luther“ (religious play)
* [[Paula Aiblinger]]: Bruder Konrad (religious play)
* Paula Aiblinger: Hedwig von Andechs (religious play)
* [[Julia and Werner Hofmann]]: Irmengard vom Chiemsee
* Julia and Werner Hofmann: Die Musketiere (for families)
* [[Erich Eckert]], Hubert Bomba, Elisabeth Neubauer: Der verlorene Sohn (religious play)
* [[Franz Schauer]]: „Die Pfiffige Urschl“ (comedy)
* [[Ulla Kling]]: A Leich zum Kaffee (comedy)
* [[Carl Borro Schwerla]]: Graf Schorschi (comedy)
* [[Georg Lohmeier]]: Königlich Bayerisches Amtsgericht (comedy)
* [[Marianne Santl]]: Herkules der Musterstier (comedy)
* [[Ludwig Anzensgruber]]: Doppelselbstmord. Ko des sei? (comedy)
* [[Howard Pyle]]: Robin Hood (for children)
* Hirtenstück
* Astrid Lindgren: Ronja Räubertochter (for children)

== Sources ==

* Harvolk, Edgar, ''Das Endorfer Volksschauspiel'', Rosenheim 1974.
* Harvolk, Edgar, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990.

== Weblinks ==

* [https://www.theater-endorf.de/ Official Website]

== References ==
[[Category:Germany]]
[[Category:Clubs, Societies and Institutions]]

Theatergesellschaft Bad Endorf

2024-05-03T09:44:29Z

Meike Wagner: /* Repertoire */

The [https://www.theater-endorf.de Theatergesellschaft Bad Endorf e.V.] is a amateur theatre that was founded in 1790 and counts as the third oldest theatre in Bavaria. It has a specialization in religious drama and performs every year from Pentecoast on for ca. 5 weeks, hosting up to 5000 spectators during a season. The theatre society is located on Rosenheimer Straße 6, Bad Endorf. Performances normally last several hours and involve large casts of ca. 60 actors. All set designs and costumes are produced by the members. The Bavarian State Ministery of Education and Culture mentioned the amateur theatre valuable in regard to popular education and artistic practice.

== History ==
In a time period at the end of eighteenth century when in Bavaria the church and state authorities largely repressed religious and passion play, theatre amateurs in the village of Bad Endorf/Teisenheim performed in 1790 the religious play „Thraurige Vorstellung dess Erschrecklichen Jingsten Gerichts“ („Saddening Representation of the Horrible Last Judgement“).<ref>A thorough analysis and discussion of the play as performed in Bad Endorf is found in Edgar Harvolk, ''Das Endorser Volksschauspiel'', Rosenheim 1974, ch. II "Das Endorfer Jüngst-Gericht-Spiel", 24-86.</ref> The play was loosely inspired by the themes of "Everyman" presenting the horrible consequences of falling to the temptations of evil. The cast consisted of 27 people in addition to a large number of extras for the group of "the righteous" and "the godless" in the grande finale.<ref>Harvolk, ''Das Endorfer Volksschauspiel'', 51.</ref> After this first outdoor performance the pheasant theatre (Bauerntheater) continued to stage religious plays, historic knight and robber plays in diverse local locations (local inns, yards etc.). The ambition to follow the Oberammergau example and engage in passion play from 1817 on was continually blocked by the church authorities that did not deem the pheasants worth staging the passion of Christ.<ref>Edgar Harvolk, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990, 5-6.</ref> In 1866 a group of 12 village people (pheasants, inn keepers, merchants) initiated a formal theatre association ("Theatergesellschaft Bad Endorf") and raised money to start building their own theatre. One of their success performances was the religious play of "The Egyptian Joseph" ("Der ägyptische Joseph") that included music performance and the staging of tableaux vivants "in the style of the passion plays in Oberammergau"<ref>Subtitle on a theatre bill from 1884, quoted in Harvolk, ''Die Endorser Volksschauspiele'', 8.</ref>. In 1958 the theatre was remodelled and hosts now up to 534 spectators. Since the end oft he 1960s the amateur theatre also performed comedies and farces. In 1991 it received the Kulturpreis (cultural prize) from the county of Rosenheim.

== Members ==

* Paula Aiblinger
* Konrad Schlaipfer
* Annemarie Ramoser
* Julia Hofmann
* Werner Hofmann
* Barbara Bichler
* Andrea Krug
* Katharina Plank
* Martina Seehuber-Liegl
* Marlene Dickl
* Emmeram Aiblinger
* Josef Mayer
* Markus Mädler
* Flo Schauer
* Kathi Plank

== Repertoire ==
They regularly performed plays by the following authors:

* 1949-1955 Christian Mayrl; former clockmaker from Eggstätt (7 plays)
* 1976-1995 Hubert Bomba from Bad Endorf (13 plays)
* 2000 Margarethe Janssen from Waldkraiburg (1 play)
* 2007, 2010, 2012 & 2014 Horst Rankl from Rosenheim (4 plays)

Religious play performed between 1945 and 1990:

* Die hl. Elisabeth von Thüringen, 1946, 1956, 1972, 1985
* Saulus, 1947, 1966, 1982
* Der verlorene Sohn, 1948, 1977
* Die sel. Irmengard, 1949, 1968, 1983
* Der Ägyptische Joseph, 1950, 1979
* Franziskus von Assisi, 1951, 1967, 1980
* Margaretha von Cortona, 1952, 1969
* Nikolaus von Flüe, 1953, 1973,
* Thomas Morus, 1954, 1976
* Bruder Konrad von Parzham, 1955, 1970, 1984
* Maria Lourdes, 1957, 1974, 1988
* Hedwig von Andechs, 1958, 1975
* Die hl. Nothburga, 1959, 1971,1987
* Der hl. Pfarrer von Ars, 1960, 1989
* Klara von Assisi, 1961
* Klemens Maria Hofbauer, 1962
* Mutter Monika und ihr Sohn Augustinus, 1963, 1981
* Königin Adelheid, 1964, 1978
* Der Rufer Gottes - Kolping, 1965
* Saulus, 1966, 1982
* Franziskus von Aissisi, 1967, 1980
* Der hl. Stephanus, 1986
* Moses, 1990

Recently performed plays:

* Gerhard Prell: „Martin Luther“ (religious play)
* [[Paula Aiblinger]]: Bruder Konrad (religious play)
* Paula Aiblinger: Hedwig von Andechs (religious play)
* [[Julia and Werner Hofmann]]: Irmengard vom Chiemsee
* Julia and Werner Hofmann: Die Musketiere (for families)
* [[Erich Eckert]], Hubert Bomba, Elisabeth Neubauer: Der verlorene Sohn (religious play)
* [[Franz Schauer]]: „Die Pfiffige Urschl“ (comedy)
* [[Ulla Kling]]: A Leich zum Kaffee (comedy)
* [[Carl Borro Schwerla]]: Graf Schorschi (comedy)
* [[Georg Lohmeier]]: Königlich Bayerisches Amtsgericht (comedy)
* [[Marianne Santl]]: Herkules der Musterstier (comedy)
* [[Ludwig Anzensgruber]]: Doppelselbstmord. Ko des sei? (comedy)
* [[Howard Pyle]]: Robin Hood (for children)
* Hirtenstück
* Astrid Lindgren: Ronja Räubertochter (for children)

== Sources ==

* Harvolk, Edgar, ''Das Endorfer Volksschauspiel'', Rosenheim 1974.
* Harvolk, Edgar, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990.

== Weblinks ==

* [https://www.theater-endorf.de/ Official Website]

[[Category:Germany]]
[[Category:Clubs, Societies and Institutions]]

Theatergesellschaft Bad Endorf

2024-05-03T09:30:02Z

Meike Wagner: /* Sources */

The [https://www.theater-endorf.de Theatergesellschaft Bad Endorf e.V.] is a amateur theatre that was founded in 1790 and counts as the third oldest theatre in Bavaria. It has a specialization in religious drama and performs every year from Pentecoast on for ca. 5 weeks, hosting up to 5000 spectators during a season. The theatre society is located on Rosenheimer Straße 6, Bad Endorf. Performances normally last several hours and involve large casts of ca. 60 actors. All set designs and costumes are produced by the members. The Bavarian State Ministery of Education and Culture mentioned the amateur theatre valuable in regard to popular education and artistic practice.

== History ==
In a time period at the end of eighteenth century when in Bavaria the church and state authorities largely repressed religious and passion play, theatre amateurs in the village of Bad Endorf/Teisenheim performed in 1790 the religious play „Thraurige Vorstellung dess Erschrecklichen Jingsten Gerichts“ („Saddening Representation of the Horrible Last Judgement“).<ref>A thorough analysis and discussion of the play as performed in Bad Endorf is found in Edgar Harvolk, ''Das Endorser Volksschauspiel'', Rosenheim 1974, ch. II "Das Endorfer Jüngst-Gericht-Spiel", 24-86.</ref> The play was loosely inspired by the themes of "Everyman" presenting the horrible consequences of falling to the temptations of evil. The cast consisted of 27 people in addition to a large number of extras for the group of "the righteous" and "the godless" in the grande finale.<ref>Harvolk, ''Das Endorfer Volksschauspiel'', 51.</ref> After this first outdoor performance the pheasant theatre (Bauerntheater) continued to stage religious plays, historic knight and robber plays in diverse local locations (local inns, yards etc.). The ambition to follow the Oberammergau example and engage in passion play from 1817 on was continually blocked by the church authorities that did not deem the pheasants worth staging the passion of Christ.<ref>Edgar Harvolk, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990, 5-6.</ref> In 1866 a group of 12 village people (pheasants, inn keepers, merchants) initiated a formal theatre association ("Theatergesellschaft Bad Endorf") and raised money to start building their own theatre. One of their success performances was the religious play of "The Egyptian Joseph" ("Der ägyptische Joseph") that included music performance and the staging of tableaux vivants "in the style of the passion plays in Oberammergau"<ref>Subtitle on a theatre bill from 1884, quoted in Harvolk, ''Die Endorser Volksschauspiele'', 8.</ref>. In 1958 the theatre was remodelled and hosts now up to 534 spectators. Since the end oft he 1960s the amateur theatre also performed comedies and farces. In 1991 it received the Kulturpreis (cultural prize) from the county of Rosenheim.

== Members ==

* Paula Aiblinger
* Konrad Schlaipfer
* Annemarie Ramoser
* Julia Hofmann
* Werner Hofmann
* Barbara Bichler
* Andrea Krug
* Katharina Plank
* Martina Seehuber-Liegl
* Marlene Dickl
* Emmeram Aiblinger
* Josef Mayer
* Markus Mädler
* Flo Schauer
* Kathi Plank

== Repertoire ==
They regularly performed plays by the following authors:

* 1949-1955 Christian Mayrl; former clockmaker from Eggstätt (7 plays)
* 1976-1995 Hubert Bomba from Bad Endorf (13 plays)
* 2000 Margarethe Janssen from Waldkraiburg (1 play)
* 2007, 2010, 2012 & 2014 Horst Rankl from Rosenheim (4 plays)

Recently performed plays:

* Gerhard Prell: „Martin Luther“ (religious play)
* [[Paula Aiblinger]]: Bruder Konrad (religious play)
* Paula Aiblinger: Hedwig von Andechs (religious play)
* [[Julia and Werner Hofmann]]: Irmengard vom Chiemsee
* Julia and Werner Hofmann: Die Musketiere (for families)
* [[Erich Eckert]], Hubert Bomba, Elisabeth Neubauer: Der verlorene Sohn (religious play)
* [[Franz Schauer]]: „Die Pfiffige Urschl“ (comedy)
* [[Ulla Kling]]: A Leich zum Kaffee (comedy)
* [[Carl Borro Schwerla]]: Graf Schorschi (comedy)
* [[Georg Lohmeier]]: Königlich Bayerisches Amtsgericht (comedy)
* [[Marianne Santl]]: Herkules der Musterstier (comedy)
* [[Ludwig Anzensgruber]]: Doppelselbstmord. Ko des sei? (comedy)
* [[Howard Pyle]]: Robin Hood (for children)
* Hirtenstück
* Astrid Lindgren: Ronja Räubertochter (for children)

== Sources ==

* Harvolk, Edgar, ''Das Endorfer Volksschauspiel'', Rosenheim 1974.
* Harvolk, Edgar, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990.

== Weblinks ==

* [https://www.theater-endorf.de/ Official Website]

[[Category:Germany]]
[[Category:Clubs, Societies and Institutions]]

Theatergesellschaft Bad Endorf

2024-05-03T09:29:44Z

Meike Wagner: /* Weblinks */

The [https://www.theater-endorf.de Theatergesellschaft Bad Endorf e.V.] is a amateur theatre that was founded in 1790 and counts as the third oldest theatre in Bavaria. It has a specialization in religious drama and performs every year from Pentecoast on for ca. 5 weeks, hosting up to 5000 spectators during a season. The theatre society is located on Rosenheimer Straße 6, Bad Endorf. Performances normally last several hours and involve large casts of ca. 60 actors. All set designs and costumes are produced by the members. The Bavarian State Ministery of Education and Culture mentioned the amateur theatre valuable in regard to popular education and artistic practice.

== History ==
In a time period at the end of eighteenth century when in Bavaria the church and state authorities largely repressed religious and passion play, theatre amateurs in the village of Bad Endorf/Teisenheim performed in 1790 the religious play „Thraurige Vorstellung dess Erschrecklichen Jingsten Gerichts“ („Saddening Representation of the Horrible Last Judgement“).<ref>A thorough analysis and discussion of the play as performed in Bad Endorf is found in Edgar Harvolk, ''Das Endorser Volksschauspiel'', Rosenheim 1974, ch. II "Das Endorfer Jüngst-Gericht-Spiel", 24-86.</ref> The play was loosely inspired by the themes of "Everyman" presenting the horrible consequences of falling to the temptations of evil. The cast consisted of 27 people in addition to a large number of extras for the group of "the righteous" and "the godless" in the grande finale.<ref>Harvolk, ''Das Endorfer Volksschauspiel'', 51.</ref> After this first outdoor performance the pheasant theatre (Bauerntheater) continued to stage religious plays, historic knight and robber plays in diverse local locations (local inns, yards etc.). The ambition to follow the Oberammergau example and engage in passion play from 1817 on was continually blocked by the church authorities that did not deem the pheasants worth staging the passion of Christ.<ref>Edgar Harvolk, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990, 5-6.</ref> In 1866 a group of 12 village people (pheasants, inn keepers, merchants) initiated a formal theatre association ("Theatergesellschaft Bad Endorf") and raised money to start building their own theatre. One of their success performances was the religious play of "The Egyptian Joseph" ("Der ägyptische Joseph") that included music performance and the staging of tableaux vivants "in the style of the passion plays in Oberammergau"<ref>Subtitle on a theatre bill from 1884, quoted in Harvolk, ''Die Endorser Volksschauspiele'', 8.</ref>. In 1958 the theatre was remodelled and hosts now up to 534 spectators. Since the end oft he 1960s the amateur theatre also performed comedies and farces. In 1991 it received the Kulturpreis (cultural prize) from the county of Rosenheim.

== Members ==

* Paula Aiblinger
* Konrad Schlaipfer
* Annemarie Ramoser
* Julia Hofmann
* Werner Hofmann
* Barbara Bichler
* Andrea Krug
* Katharina Plank
* Martina Seehuber-Liegl
* Marlene Dickl
* Emmeram Aiblinger
* Josef Mayer
* Markus Mädler
* Flo Schauer
* Kathi Plank

== Repertoire ==
They regularly performed plays by the following authors:

* 1949-1955 Christian Mayrl; former clockmaker from Eggstätt (7 plays)
* 1976-1995 Hubert Bomba from Bad Endorf (13 plays)
* 2000 Margarethe Janssen from Waldkraiburg (1 play)
* 2007, 2010, 2012 & 2014 Horst Rankl from Rosenheim (4 plays)

Recently performed plays:

* Gerhard Prell: „Martin Luther“ (religious play)
* [[Paula Aiblinger]]: Bruder Konrad (religious play)
* Paula Aiblinger: Hedwig von Andechs (religious play)
* [[Julia and Werner Hofmann]]: Irmengard vom Chiemsee
* Julia and Werner Hofmann: Die Musketiere (for families)
* [[Erich Eckert]], Hubert Bomba, Elisabeth Neubauer: Der verlorene Sohn (religious play)
* [[Franz Schauer]]: „Die Pfiffige Urschl“ (comedy)
* [[Ulla Kling]]: A Leich zum Kaffee (comedy)
* [[Carl Borro Schwerla]]: Graf Schorschi (comedy)
* [[Georg Lohmeier]]: Königlich Bayerisches Amtsgericht (comedy)
* [[Marianne Santl]]: Herkules der Musterstier (comedy)
* [[Ludwig Anzensgruber]]: Doppelselbstmord. Ko des sei? (comedy)
* [[Howard Pyle]]: Robin Hood (for children)
* Hirtenstück
* Astrid Lindgren: Ronja Räubertochter (for children)

== Sources ==
Harvolk, Edgar, ''Das Endorfer Volksschauspiel'', Rosenheim 1974.

Harvolk, Edgar, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990.

== Weblinks ==

* [https://www.theater-endorf.de/ Official Website]

[[Category:Germany]]
[[Category:Clubs, Societies and Institutions]]

Theatergesellschaft Bad Endorf

2024-05-03T09:27:52Z

Meike Wagner:

The [https://www.theater-endorf.de Theatergesellschaft Bad Endorf e.V.] is a amateur theatre that was founded in 1790 and counts as the third oldest theatre in Bavaria. It has a specialization in religious drama and performs every year from Pentecoast on for ca. 5 weeks, hosting up to 5000 spectators during a season. The theatre society is located on Rosenheimer Straße 6, Bad Endorf. Performances normally last several hours and involve large casts of ca. 60 actors. All set designs and costumes are produced by the members. The Bavarian State Ministery of Education and Culture mentioned the amateur theatre valuable in regard to popular education and artistic practice.

== History ==
In a time period at the end of eighteenth century when in Bavaria the church and state authorities largely repressed religious and passion play, theatre amateurs in the village of Bad Endorf/Teisenheim performed in 1790 the religious play „Thraurige Vorstellung dess Erschrecklichen Jingsten Gerichts“ („Saddening Representation of the Horrible Last Judgement“).<ref>A thorough analysis and discussion of the play as performed in Bad Endorf is found in Edgar Harvolk, ''Das Endorser Volksschauspiel'', Rosenheim 1974, ch. II "Das Endorfer Jüngst-Gericht-Spiel", 24-86.</ref> The play was loosely inspired by the themes of "Everyman" presenting the horrible consequences of falling to the temptations of evil. The cast consisted of 27 people in addition to a large number of extras for the group of "the righteous" and "the godless" in the grande finale.<ref>Harvolk, ''Das Endorfer Volksschauspiel'', 51.</ref> After this first outdoor performance the pheasant theatre (Bauerntheater) continued to stage religious plays, historic knight and robber plays in diverse local locations (local inns, yards etc.). The ambition to follow the Oberammergau example and engage in passion play from 1817 on was continually blocked by the church authorities that did not deem the pheasants worth staging the passion of Christ.<ref>Edgar Harvolk, ''Die Endorfer Volksschauspiele seit 1790'', Munich 1990, 5-6.</ref> In 1866 a group of 12 village people (pheasants, inn keepers, merchants) initiated a formal theatre association ("Theatergesellschaft Bad Endorf") and raised money to start building their own theatre. One of their success performances was the religious play of "The Egyptian Joseph" ("Der ägyptische Joseph") that included music performance and the staging of tableaux vivants "in the style of the passion plays in Oberammergau"<ref>Subtitle on a theatre bill from 1884, quoted in Harvolk, ''Die Endorser Volksschauspiele'', 8.</ref>. In 1958 the theatre was remodelled and hosts now up to 534 spectators. Since the end oft he 1960s the amateur theatre also performed comedies and farces. In 1991 it received the Kulturpreis (cultural prize) from the county of Rosenheim.

== Members ==

* Paula Aiblinger
* Konrad Schlaipfer
* Annemarie Ramoser
* Julia Hofmann
* Werner Hofmann
* Barbara Bichler
* Andrea Krug
* Katharina Plank
* Martina Seehuber-Liegl
* Marlene Dickl
* Emmeram Aiblinger
* Josef Mayer
* Markus Mädler
* Flo Schauer
* Kathi Plank

== Repertoire ==
They regularly performed plays by the following authors:

* 1949-1955 Christian Mayrl; former clockmaker from Eggstätt (7 plays)
* 1976-1995 Hubert Bomba from Bad Endorf (13 plays)
* 2000 Margarethe Janssen from Waldkraiburg (1 play)
* 2007, 2010, 2012 & 2014 Horst Rankl from Rosenheim (4 plays)

Recently performed plays:

* Gerhard Prell: „Martin Luther“ (religious play)
* [[Paula Aiblinger]]: Bruder Konrad (religious play)
* Paula Aiblinger: Hedwig von Andechs (religious play)
* [[Julia and Werner Hofmann]]: Irmengard vom Chiemsee
* Julia and Werner Hofmann: Die Musketiere (for families)
* [[Erich Eckert]], Hubert Bomba, Elisabeth Neubauer: Der verlorene Sohn (religious play)
* [[Franz Schauer]]: „Die Pfiffige Urschl“ (comedy)
* [[Ulla Kling]]: A Leich zum Kaffee (comedy)
* [[Carl Borro Schwerla]]: Graf Schorschi (comedy)
* [[Georg Lohmeier]]: Königlich Bayerisches Amtsgericht (comedy)
* [[Marianne Santl]]: Herkules der Musterstier (comedy)
* [[Ludwig Anzensgruber]]: Doppelselbstmord. Ko des sei? (comedy)
* [[Howard Pyle]]: Robin Hood (for children)
* Hirtenstück
* Astrid Lindgren: Ronja Räubertochter (for children)

== Weblinks ==

* [https://www.theater-endorf.de/ Official Website]

[[Category:Germany]]
[[Category:Clubs, Societies and Institutions]]

Theatergesellschaft Bad Endorf

2024-05-03T09:10:17Z

Meike Wagner: revision

The [https://www.theater-endorf.de Theatergesellschaft Bad Endorf e.V.] is a amateur theatre that was founded in 1790 and counts as the third oldest theatre in Bavaria. It has a specialization in religious drama and performs every year from Pentecoast on for ca. 5 weeks, hosting up to 5000 spectators during a season. The theatre society is located on Rosenheimer Straße 6, Bad Endorf. Performances normally last several hours and involve large casts of ca. 60 actors. All set designs and costumes are produced by the members. The Bavarian State Ministery of Education and Culture mentioned the amateur theatre valuable in regard to popular education and artistic practice.

== History ==
In a time period at the end of eighteenth century when in Bavaria the church and state authorities largely repressed religious and passion play, theatre amateurs in the village of Bad Endorf/Teisenheim performed in 1790 the religious play „Thraurige Vorstellung dess Erschrecklichen Jingsten Gerichts“ („Saddening Representation of the Horrible Last Judgement“). The play was loosely inspired by the themes of "Everyman" presenting the horrible consequences of falling to the temptations of evil. The cast consisted of 27 people in addition to a large number of extras for the group of "the righteous" and "the godless" in the grande finale. After this first outdoor performance the pheasant theatre (Bauerntheater) continued to stage religious plays, historic knight and robber plays in diverse local locations (local inns, yards etc.). The ambition to follow the Oberammergau example and engage in passion play from 1817 on was continually blocked by the church authorities that did not deem the pheasants worth staging the passion of Christ. In 1866 a group of 12 village people (pheasants, inn keepers, merchants) initiated a formal theatre association ("Theatergesellschaft Bad Endorf") and raised money to start building their own theatre. One of their success performances was the religious play of "The Egyptian Joseph" ("Der ägyptische Joseph") that included music performance and the staging of tableaux vivants "in the style of the passion plays in Oberammergau". In 1958 the theatre was remodelled and hosts now up to 534 spectators. Since the end oft he 1960s the amateur theatre also performed comedies and farces. In 1991 it received the Kulturpreis (cultural prize) from the county of Rosenheim.

== Members ==

* Paula Aiblinger
* Konrad Schlaipfer
* Annemarie Ramoser
* Julia Hofmann
* Werner Hofmann
* Barbara Bichler
* Andrea Krug
* Katharina Plank
* Martina Seehuber-Liegl
* Marlene Dickl
* Emmeram Aiblinger
* Josef Mayer
* Markus Mädler
* Flo Schauer
* Kathi Plank

== Repertoire ==
They regularly performed plays by the following authors:

* 1949-1955 Christian Mayrl; former clockmaker from Eggstätt (7 plays)
* 1976-1995 Hubert Bomba from Bad Endorf (13 plays)
* 2000 Margarethe Janssen from Waldkraiburg (1 play)
* 2007, 2010, 2012 & 2014 Horst Rankl from Rosenheim (4 plays)

Recently performed plays:

* Gerhard Prell: „Martin Luther“ (religious play)
*
* [[Paula Aiblinger]]: Bruder Konrad (religious play)
* Paula Aiblinger: Hedwig von Andechs (religious play)
* [[Julia and Werner Hofmann]]: Irmengard vom Chiemsee
* Julia and Werner Hofmann: Die Musketiere (for families)
* [[Erich Eckert]], Hubert Bomba, Elisabeth Neubauer: Der verlorene Sohn (religious play)
* [[Franz Schauer]]: „Die Pfiffige Urschl“ (comedy)
* [[Ulla Kling]]: A Leich zum Kaffee (comedy)
* [[Carl Borro Schwerla]]: Graf Schorschi (comedy)
* [[Georg Lohmeier]]: Königlich Bayerisches Amtsgericht (comedy)
* [[Marianne Santl]]: Herkules der Musterstier (comedy)
* [[Ludwig Anzensgruber]]: Doppelselbstmord. Ko des sei? (comedy)
* [[Howard Pyle]]: Robin Hood (for children)
* Hirtenstück
* Astrid Lindgren: Ronja Räubertochter (for children)

== Weblinks ==

* [https://www.theater-endorf.de/ Official Website]

[[Category:Germany]]
[[Category:Clubs, Societies and Institutions]]

Research on Amateur Theatre

2024-01-10T10:49:38Z

Meike Wagner: /* Literature */

Research on amateur theatre in general is a marginalized field in theatre studies. Some historical studies focus entirely on biographical approaches when prominent actors, dramatists, directors have engaged in amateur theatricals.

More recently, many attempts have been made to increase research on amateur theatre in Europe and worldwide widening the scope of research on historiographical and also contemporary amateur theatre practice. The below list is following the geographical focus of research, indicating also research with international and transnational research focus. Publications are listed under "Literature".

== Research projects ==

=== Germany ===

==== [https://www.uni-leipzig.de/projekt-metaklub/die-projekte-der-foerderrichtlinie/heimatweltbuehne HeimatWeltBühne. Amateurtheater in periphären Räumen Ostdeutschlands (2019-2023)] (Home country - World - Stage. Amateur Theatre in Marginal Spaces of Eastern Germany) ====
The project was funded by the German Ministry of Education and Research, it was led by Günther Heeg (University of Leipzig). The project investigated the practices of six amateur theatres and cultural centres in Brandenburg and Saxony. The research aim was to understand their role as a mediator of transcultural education in rural areas. The concepts of "Heimat" ("home country"), "Welt" ("world") and "Bühne" ("stage") were central to understand the different levels of the relation of amateur theatricals to society. Günther Heeg's book [https://www.schibri.de/978-3-86863-221-7/fremde-spielen. Fremde spielen. Materialien zur Geschichte von Amateurtheater] (Uckerland, Schibri-Verlag 2020) was a basis to the research.

=== Switzerland ===
'''Femmes "en société". Rôles et importance des femmes dans l'émergence et la création des spectacles de société (2021-2022) (Women in "Society". The roles and relevance of women in the origin and development of "société" performances)'''

The project led by Valentina Ponzetto (University of Lausanne) was funded by the Swiss National Funds for Research. The project aimed to make visible the numerous women that were active in theatre of society from 18th to 19th century. In this frame they found a favorable terrain to express and develop their creativity.

==== '''[https://theatresdesociete.unil.ch/equipe Théâtres de Société. Entre Lumières et Second Empire (2016-2021)] (Theatre of Society Between Enlightenment and the Second Empire)''' ====
The project led by Valentina Ponzetto (University of Lausanne) was funded by the Swiss National Funds for Research. The theatre of society was a non-commercial amateur theatre practiced in private or semi-private spaces. The project studied dramaturgical and aesthetical aspects of this amateur theatre by drawing on largely under-studied and little known archival sources. Particular practices of mise-en-scène, the material organization of such theatre and its social and political dimension were in the research focus. Two collected volumes resulted from the research: [https://www.pur-editions.fr/product/ean/9782753578883/espaces-des-theatres-de-societe Espace de théâtre de société. Définitions, enjeux, posterité] (Presses Universitaires de Rennes 2020), edited by Valentina Ponzetto, Jennifer Ruimi and Christophe Schuwey; and [https://journals.openedition.org/edl/3748 Théâtre et société. Réseaux de sociabilité et représentations de la société] (Etudes de lettres, 2022), edited by Valentina Ponzetto and Jennifer Ruimi.

=== United Kingdom ===

==== [https://gtr.ukri.org/projects?ref=AH%2FK001922%2F1 Amateur Dramatics. Crafting Communities in Time and Space (2013-2017)] ====
This AHRC funded project provided the first major study on contemporary amateur dramatics in the UK. Principle investigator was Helen Nicholson from Royal Holloway, University of London. She collaborated with Jane Milling (University of Exeter) and Nadine Holdsworth (University of Warwick). The aim of the research project was to bring Amateur theatre's active place in the social and cultural life of many communities into the centre of investigation, despite receiving little intervention from funding councils, charities, local authorities and professional theatre. The project was conducted with and by members of amateur dramatic companies, who shared their insights and local knowledge. It resulted in the book [https://link.springer.com/book/10.1057/978-1-137-50810-2 Ecologies of Amateur Theatre] (Palgrave Macmillan 2018), co-authored by the three investigators.

=== Transnational Projects ===

==== [https://www.p-citizens.gwi.uni-muenchen.de Performing Citizenship. Social and Political Agency in Non-Professional Theatre Practice in Germany, France, Britain, Sweden and Switzerland (1780-1850) (2022-2026)] ====
This is the first project to be funded by the European Research Council which makes clear that between 1780 and 1850 amateur theatre played a significant role in the shaping of European societies, cultures and identities. The project proposes the thesis that European amateur theatre in Germany, France, Britain, Sweden and Switzerland had a vital role in the formation of modern concepts of citizenship. Principal Investigator is Meike Wagner (LMU Munich), she collaborates with David Coates (University of Warwick) and Maria Gullstam (LMU Munich).

== Platforms, Networks, Data Bases ==

==== [https://rappt.org Research on Amateur Performance and Private Theatricals] (RAPPT, platform) ====
RAPPT is an international interdisciplinary network of Researchers working on Amateur Performance and Private Theatricals from a variety of angles; this site encourages contributions from and collaborations between all those interested in nonprofessional performance: theatre historians, musicologists, literature scholars, practitioners, digital humanists, etc.

==== [http://homes.chass.utoronto.ca/~trott/societe/societe.htm Théâtre de Société: Rayonnement '''du répertoire français entre 1700 et 1799'''] '''(data base) (Theatre of Society: Dissemination of the French Repertoire between 1700 and 1799)''' ====
This list aims to provide insights into the French theatres of society between 1700 and 1799. By putting emphasis on the specific location of these private theatricals, the people involved in performances, the milieus they came from, and other traces of their theatrical activity it is possible to reconstruct an image of this collective theatrical practice in the age of Enlightenment.

== Literature ==

* Alexander, Felix, “Die nebenberuflichen Theatergesellschaften in Deutschland”, in ''Schmollers Jahrbuch für Gesetzgebung, Verwaltung und Volkswirtschaft im Deutschen Reich'' 37:2:1913, hg. von Gustav Schmoller, 1-62.
* Becker, Tobias, “Entertaining the Empire. Theatrical Touring Companies and Amateur Dramatics in Colonial India”, in The Historical Journal 57:3:2014, Cambridge: Cambridge University Press, 699-725.
* Bosse, Heinrich, “Das Liebhabertheater als Pappkamerad. Der Krieg gegen die Halbheit und die ‘Greuel des Dilettantismus’”, in ''Dilettantismus um 1800'', Heidelberg: Winter, 2007, 69-90.
* Claretie, Léo, ''Histoire des théâtres de société.'' Paris: Librairie Molière, 1905.
* Cochrane, Claire, “The Pervasiveness of the Commonplace. The Historian and Amateur Theatre”, in Theatre Research International, 26:3:2001, 233-242.
* Cramér, Carl, ''Amatörteater i Sverige'', Malmö: Svenska Kulturförlaget, 1952.
* Dobson, Michael, Shakespeare and Amateur Performance, Cambridge: Cambridge University Press, 2011.
* ''Espaces des théâtres de société. Définitions, enjeux, postérité'', ed. par Valentina Ponzetto, Jennifer Ruimi, Christophe Schuwey, Rennes: Presses Universitaire de Rennes, 2020.
* ''Fremde spielen. Materialien zur Geschichte von Amateurtheater'', hg. von Claudius Baisch, Henrike Schmidt, Dana Soub, Uckerland: Schibri-Verlag, 2020.
* Hesselmann, Peter, “‘Bühnen im Taschenformat’. Zur Theorie und Praxis der Gesellschaftstheater im letzten Viertel des 18. Jahrhunderts”, in ''Theater im Kulturwandel des 18. Jahrhunderts'', hg. Erika Fischer-Lichte und Jörg Schönert, Göttingen: Wallstein, 1999, 503-520.
* ''Le Théâtre des amateurs et l’expériecne de l’art. Accompagnement et autonomie'', ed. par Marie Christine Bordeaux, Jean Caune, Marie-Madeleine Mervant-Roux, Paris: L’Entretemps, 2011.
* ''Les théâtres de société au XVIIIe siècle'', ed. par Marie-Emmanuelle Plagnol-Diéval et Dominique Quéro. Bruxelles: Editions de l'Université de Bruxelles, 2005.
* Mackerras, Colin, ''Amateur Theatre in China 1949-1966'', Canberra: Contemporary China Centre, 1973.
* Nicholson, Helen, Nadine Holsworth, Jane Milling: ''The Ecologies of Amateur Theatre'', Basingstoke: Palgrave, 2018.
* Plagnol-Diéval, Marie-Emmanuelle, ''Le théâtre de société : un autre théâtre?'' Paris: H. Champion , 2003.
* Rüppel, Michael, “Das Bremer Gesellschaftstheater des Freiherrn Knigge 1791/92”, in ''Bremisches Jahrbuch''74/75 (1995/96), 107-133.
* Schmidt, Yvonne, ''Ausweitung der Spielzone : Experten, Amateure, behinderte Darsteller im Gegenwartstheater'', Zürich: Chronos, 2020.
* ''Tréteaux et paravents. Le théâtre de société au XIX<sup>e</sup> siècle'', ed. par Jean-Claude Yon et Nathalie Le Gonidec, Grâne: Créaphis, 2012.
* Ullmann, Walter, ''Adolph Müllner und das Weißenfelser Liebhabertheater'', Berlin: Selbstverlag der Gesellschaft frü Theatergeschichte, 1934.
* Wagner, Meike, “Das Spiel der Liebhaber. Ästhetische Bildung im bürgerlichen Amateur-Schauspiel” in Forum Modernes Theater, 1:2020, 7-25.
* Wagner, Meike, “‘Schöpferin glücklicher Stunden…’ – Utopische Spielräume von Amateur-Schauspielerinnen nach 1800”, in ''Forum Modernes Theater'', 1-2:2022, 177-190.

[[Category:Research]]

Research on Amateur Theatre

2024-01-10T10:39:08Z

Meike Wagner: added literature section

Research on amateur theatre in general is a marginalized field in theatre studies. Some historical studies focus entirely on biographical approaches when prominent actors, dramatists, directors have engaged in amateur theatricals.

More recently, many attempts have been made to increase research on amateur theatre in Europe and worldwide widening the scope of research on historiographical and also contemporary amateur theatre practice. The below list is following the geographical focus of research, indicating also research with international and transnational research focus. Publications are listed under "Literature".

== Research projects ==

=== Germany ===

==== [https://www.uni-leipzig.de/projekt-metaklub/die-projekte-der-foerderrichtlinie/heimatweltbuehne HeimatWeltBühne. Amateurtheater in periphären Räumen Ostdeutschlands (2019-2023)] (Home country - World - Stage. Amateur Theatre in Marginal Spaces of Eastern Germany) ====
The project was funded by the German Ministry of Education and Research, it was led by Günther Heeg (University of Leipzig). The project investigated the practices of six amateur theatres and cultural centres in Brandenburg and Saxony. The research aim was to understand their role as a mediator of transcultural education in rural areas. The concepts of "Heimat" ("home country"), "Welt" ("world") and "Bühne" ("stage") were central to understand the different levels of the relation of amateur theatricals to society. Günther Heeg's book [https://www.schibri.de/978-3-86863-221-7/fremde-spielen. Fremde spielen. Materialien zur Geschichte von Amateurtheater] (Uckerland, Schibri-Verlag 2020) was a basis to the research.

=== Switzerland ===
'''Femmes "en société". Rôles et importance des femmes dans l'émergence et la création des spectacles de société (2021-2022) (Women in "Society". The roles and relevance of women in the origin and development of "société" performances)'''

The project led by Valentina Ponzetto (University of Lausanne) was funded by the Swiss National Funds for Research. The project aimed to make visible the numerous women that were active in theatre of society from 18th to 19th century. In this frame they found a favorable terrain to express and develop their creativity.

==== '''[https://theatresdesociete.unil.ch/equipe Théâtres de Société. Entre Lumières et Second Empire (2016-2021)] (Theatre of Society Between Enlightenment and the Second Empire)''' ====
The project led by Valentina Ponzetto (University of Lausanne) was funded by the Swiss National Funds for Research. The theatre of society was a non-commercial amateur theatre practiced in private or semi-private spaces. The project studied dramaturgical and aesthetical aspects of this amateur theatre by drawing on largely under-studied and little known archival sources. Particular practices of mise-en-scène, the material organization of such theatre and its social and political dimension were in the research focus. Two collected volumes resulted from the research: [https://www.pur-editions.fr/product/ean/9782753578883/espaces-des-theatres-de-societe Espace de théâtre de société. Définitions, enjeux, posterité] (Presses Universitaires de Rennes 2020), edited by Valentina Ponzetto, Jennifer Ruimi and Christophe Schuwey; and [https://journals.openedition.org/edl/3748 Théâtre et société. Réseaux de sociabilité et représentations de la société] (Etudes de lettres, 2022), edited by Valentina Ponzetto and Jennifer Ruimi.

=== United Kingdom ===

==== [https://gtr.ukri.org/projects?ref=AH%2FK001922%2F1 Amateur Dramatics. Crafting Communities in Time and Space (2013-2017)] ====
This AHRC funded project provided the first major study on contemporary amateur dramatics in the UK. Principle investigator was Helen Nicholson from Royal Holloway, University of London. She collaborated with Jane Milling (University of Exeter) and Nadine Holdsworth (University of Warwick). The aim of the research project was to bring Amateur theatre's active place in the social and cultural life of many communities into the centre of investigation, despite receiving little intervention from funding councils, charities, local authorities and professional theatre. The project was conducted with and by members of amateur dramatic companies, who shared their insights and local knowledge. It resulted in the book [https://link.springer.com/book/10.1057/978-1-137-50810-2 Ecologies of Amateur Theatre] (Palgrave Macmillan 2018), co-authored by the three investigators.

=== Transnational Projects ===

==== [https://www.p-citizens.gwi.uni-muenchen.de Performing Citizenship. Social and Political Agency in Non-Professional Theatre Practice in Germany, France, Britain, Sweden and Switzerland (1780-1850) (2022-2026)] ====
This is the first project to be funded by the European Research Council which makes clear that between 1780 and 1850 amateur theatre played a significant role in the shaping of European societies, cultures and identities. The project proposes the thesis that European amateur theatre in Germany, France, Britain, Sweden and Switzerland had a vital role in the formation of modern concepts of citizenship. Principal Investigator is Meike Wagner (LMU Munich), she collaborates with David Coates (University of Warwick) and Maria Gullstam (LMU Munich).

== Platforms, Networks, Data Bases ==

==== [https://rappt.org Research on Amateur Performance and Private Theatricals] (RAPPT, platform) ====
RAPPT is an international interdisciplinary network of Researchers working on Amateur Performance and Private Theatricals from a variety of angles; this site encourages contributions from and collaborations between all those interested in nonprofessional performance: theatre historians, musicologists, literature scholars, practitioners, digital humanists, etc.

==== [http://homes.chass.utoronto.ca/~trott/societe/societe.htm Théâtre de Société: Rayonnement '''du répertoire français entre 1700 et 1799'''] '''(data base) (Theatre of Society: Dissemination of the French Repertoire between 1700 and 1799)''' ====
This list aims to provide insights into the French theatres of society between 1700 and 1799. By putting emphasis on the specific location of these private theatricals, the people involved in performances, the milieus they came from, and other traces of their theatrical activity it is possible to reconstruct an image of this collective theatrical practice in the age of Enlightenment.

== Literature ==

* Alexander, Felix, “Die nebenberuflichen Theatergesellschaften in Deutschland”, in ''Schmollers Jahrbuch für Gesetzgebung, Verwaltung und Volkswirtschaft im Deutschen Reich'' 37:2:1913, hg. von Gustav Schmoller, 1-62.
* Becker, Tobias, “Entertaining the Empire. Theatrical Touring Companies and Amateur Dramatics in Colonial India”, in The Historical Journal 57:3:2014, Cambridge: Cambridge University Press, 699-725.
* Bosse, Heinrich, “Das Liebhabertheater als Pappkamerad. Der Krieg gegen die Halbheit und die ‘Greuel des Dilettantismus’”, in ''Dilettantismus um 1800'', Heidelberg: Winter, 2007, 69-90.
* Claretie, Léo, ''Histoire des théâtres de société.'' Paris: Librairie Molière, 1905.
* Cochrane, Claire, “The Pervasiveness of the Commonplace. The Historian and Amateur Theatre”, in Theatre Research International, 26:3:2001, 233-242.
* Cramér, Carl, ''Amatörteater i Sverige'', Malmö: Svenska Kulturförlaget, 1952.
* Dobson, Michael, Shakespeare and Amateur Performance, Cambridge: Cambridge University Press, 2011.
* ''Espaces des théâtres de société. Définitions, enjeux, postérité'', ed. par Valentina Ponzetto, Jennifer Ruimi, Christophe Schuwey, Rennes: Presses Universitaire de Rennes, 2020.
* ''Fremde spielen. Materialien zur Geschichte von Amateurtheater'', hg. von Claudius Baisch, Henrike Schmidt, Dana Soub, Uckerland: Schibri-Verlag, 2020.
* Hesselmann, Peter, “‘Bühnen im Taschenformat’. Zur Theorie und Praxis der Gesellschaftstheater im letzten Viertel des 18. Jahrhunderts”, in ''Theater im Kulturwandel des 18. Jahrhunderts'', hg. Erika Fischer-Lichte und Jörg Schönert, Göttingen: Wallstein, 1999, 503-520.
* ''Les théâtres de société au XVIIIe siècle'', ed. par Marie-Emmanuelle Plagnol-Diéval et Dominique Quéro. Bruxelles: Editions de l'Université de Bruxelles, 2005.
* Mackerras, Colin, ''Amateur Theatre in China 1949-1966'', Canberra: Contemporary China Centre, 1973.
* Nicholson, Helen, Nadine Holsworth, Jane Milling: ''The Ecologies of Amateur Theatre'', Basingstoke: Palgrave, 2018.
* Plagnol-Diéval, Marie-Emmanuelle, ''Le théâtre de société : un autre théâtre?'' Paris: H. Champion , 2003.
* Rüppel, Michael, “Das Bremer Gesellschaftstheater des Freiherrn Knigge 1791/92”, in ''Bremisches Jahrbuch''74/75 (1995/96), 107-133.
* Schmidt, Yvonne, ''Ausweitung der Spielzone : Experten, Amateure, behinderte Darsteller im Gegenwartstheater'', Zürich: Chronos, 2020.
* ''Tréteaux et paravents. Le théâtre de société au XIX<sup>e</sup> siècle'', ed. par Jean-Claude Yon et Nathalie Le Gonidec, Grâne: Créaphis, 2012.
* Ullmann, Walter, ''Adolph Müllner und das Weißenfelser Liebhabertheater'', Berlin: Selbstverlag der Gesellschaft frü Theatergeschichte, 1934.
* Wagner, Meike, “Das Spiel der Liebhaber. Ästhetische Bildung im bürgerlichen Amateur-Schauspiel” in Forum Modernes Theater, 1:2020, 7-25.
* Wagner, Meike, “‘Schöpferin glücklicher Stunden…’ – Utopische Spielräume von Amateur-Schauspielerinnen nach 1800”, in ''Forum Modernes Theater'', 1-2:2022, 177-190.

[[Category:Research]]

Theatergesellschaft Bad Endorf

2023-11-28T14:53:37Z

Meike Wagner:

Theatergesellschaft Bad Endorf

2023-11-28T14:52:53Z

Meike Wagner: new entry

The Theatergesellschaft Bad Endorf e.V. is a amateur theatre that was founded in 1790 and counts as the third oldest theatre in Bavaria. It has a specialization in religious drama and performs every year from Pentecoast on for ca. 5 weeks, hosting up to 5000 spectators during a season. The theatre society is located on Rosenheimer Straße 6, Bad Endorf. Performances normally last several hours and involve large casts of ca. 60 actors. All set designs and costumes are produced by the members. The Bavarian State Ministery of Education and Culture mentioned the amateur theatre valuable in regard to popular education and artistic practice.

== History ==
The first mention of a performance of the amateur theatre is „Thraurige Vorstellung dess Erschrecklichen Jingsten Gerichts“ („Saddening Representation of the Horrible Last Judgement“) in 1790. It is the oldest assocation in the town of Bad Endorf. In 1866 the started building their own theatre, financed by the „12 Apostles“ (12 actors). In 1958 the theatre was remodelled and hosts up to 534 spectators. Since the end oft he 1960s the amateur theatre also performed comedies and farces. In 1991 it received the Kulturpreis (cultural prize) from the county of Rosenheim.

== Members ==

* Paula Aiblinger
* Konrad Schlaipfer
* Annemarie Ramoser
* Julia Hofmann
* Werner Hofmann
* Barbara Bichler
* Andrea Krug
* Katharina Plank
* Martina Seehuber-Liegl
* Marlene Dickl
* Emmeram Aiblinger
* Josef Mayer
* Markus Mädler
* Flo Schauer
* Kathi Plank

== Repertoire ==
They regularly performed plays by the following authors:

* 1949-1955 Christian Mayrl; former clockmaker from Eggstätt (7 plays)
* 1976-1995 Hubert Bomba from Bad Endorf (13 plays)
* 2000 Margarethe Janssen from Waldkraiburg (1 play)
* 2007, 2010, 2012 & 2014 Horst Rankl from Rosenheim (4 plays)

Recently performed plays:

* Gerhard Prell: „Martin Luther“ (religious play)
*
* Paula Aiblinger: Bruder Konrad (religious play)
* Paula Aiblinger: Hedwig von Andechs (religious play)
* Julia and Werner Hofmann: Irmengard vom Chiemsee
* Julia and Werner Hofmann: Die Musketiere (for families)
* Erich Eckert, Hubert Bomba, Elisabeth Neubauer: Der verlorene Sohn (religious play)
* Franz Schauer: „Die Pfiffige Urschl“ (comedy)
* Ulla Kling: A Leich zum Kaffee (comedy)
* Carl Borro Schwerla: Graf Schorschi (comedy)
* Georg Lohmeier: Königlich Bayerisches Amtsgericht (comedy)
* Marianne Santl: Herkules der Musterstier (comedy)
* Ludwig Anzensgruber: Doppelselbstmord. Ko des sei? (comedy)
* Howard Pyle: Robin Hood (for children)
* Hirtenstück
* Astrid Lindgren: Ronja Räubertochter (for children)

Feldmochinger Volkstheater e.V.

2023-11-28T11:16:45Z

Meike Wagner: Revision entry

Feldmochinger Volkstheater e.V. is a Munich-based amateur theatre that was active from 1960 to 2022.

== History ==
Founded in 1960 the [https://feldmochinger-volkstheater.de Feldmochinger Volkstheater e.V.] performed twice a year. Finding it more and more difficult to interest young people in their activities, and facing the difficulty that during the Covid pandemic no theatre was allowed to perform in Munich for two years, the amateur theatre closed down the association on 9 March 2022. From 1976 on their performances were hosted by Senioren-Residenz Augustinum München-Nord.

== Members ==

* Georg Hölzl, Regisseur
* Reinhilde Hölzl
* Maximilian Zuleger, Actor
* Reinhold Foster, Actor
* Christine Spindler, Actress
* Gabriele Barr, Actress
* Verena Braun, Actress
* Marina Kolmeder, Actress
* Sepp Haider, Actor
* Sebastian Tartler, Actor
* Detlef Thiemann, Actor
* Cornelia Thiemann, Actress
* Anja Brandl, Actress
* Christa Holzer, Prompter
* Franz Steiner, Stage Design
* Fritz Jenewein, Painter
* Christa Holzer, Props
* Alfred Nespor, Technical Crew
* Harry Müller, Technical Crew
* Brigitte Müller, Mask and Costume

== Repertoire ==

* Marianne Santl: „Das begehrte Hochzeitsgeschenk“
* Peter Landstorfer: „Da kahle Krempling“
* Peter Landstorfer: „D’Wahl-Lump’n“
* Cornelia Willinger: „Allein unter Kühen“
* Bernd Helfrich: „Der König von Hohenmoos“
* Joseph Maria Lutz: „Der Geisterbräu“
* Holger Zimmermann: „Die Versuchung des Aloysius Federl“
* Ulla Kling: „Immer diese Putzfrau“
* Toni Lauerer: „Wenn die Sterne lügen“
* Sebastian Kolb und Markus Scheble: „Im Pfarrhaus is da Deife los“
* Sebastian Kolb und Markus Scheble: „Da Himme wart ned“
* Georg Hölzl: „Der galaktische Unterschied oder Ei’gschlogen hot‘s“
* Ulla Kling: „Nordlicht über Bollerbach“
* Sepp Faltermeier: „Der Weiberfeind“