Bernhardi Suiten

Cued 8-track installation on 20+ speaker system scored by Malte Beckenbach & Simon James Phillips for Schaubühne                                                                                         


Professor Bernhardi

by Arthur Schnitzler
Direction: Thomas Ostermeier



»Professor Bernhardi« is one of the few dramatic texts which meticulously develops a professional context beyond the emotional and family backgrounds of its characters. At the same time, the hospital workplace comes to represent a cross section of a society dominated by careerism, competition and resentment, underpinned by the latent driving force of its anti-semitism. In his production of Schnitzler’s comedy – as the writer ambiguously termed his play – Thomas Ostermeier particularly explores the question of how a group can systematically manipulate an isolated incident in order to serve its own aspirations for power and special interests; how apparently incontestable facts can be twisted and relativised to the point where the »objective truth« rapidly loses its definable shape. What remains of the truth when it is increasingly crushed between opposing interpretations?


>>> Essay about the production in Pearson's Preview: Professor Bernhardi: Bullying, Intrigue, and Survival

Lehman Brothers

Cued 8-track installation on 20+ speaker system scored by Malte Beckenbach & Nils Ostendorf


By Stefano Massini

Direction: Marius von Mayenburg


LEHMAN BROTHERS by Italian playwrighter Stefano Massini tells the story of the historic rise and fall of Lehman Brothers investment house. The version shown in munich is based on Massini’s theatre plays “The Lehman Trilogy”, a five-hour saga that traces the legacy of the infamous banking family back three generations, beginning with their humble arrival to America in the mid-1800s and ending with their empire’s eventual demise in 2008.


Cued 8-track installation on 20+ speaker system scored by Malte Beckenbach                                                                                                                                    



written  & directed by Falk Richter

World Premiere


What does a family look like in 2015? What can terms like ›origin‹, ›native country‹ and ›home‹ mean in a globalised world? With which new meanings can they be filled? Western societies live in an equal state of fear and activism. Fear is taking root across Europe, reactionary parties are growing in strength, right-wing populism, chauvinism and xenophobia are flourishing. Proponents of simplistic world views are on the up. Hard-fought-for achievements are suddenly being brought into question: the EU is being demonised, the fourth estate defamed as the »gutter press«, sexual and cultural differences are being attacked and what it means to be a man, a woman or a family is being defined in the most one- dimensional terms. In the struggle for gender equality, the institution of marriage in particular is becoming symbolically charged and romanticised by those who defend it as a privilege which is to be denied to certain social groups. A conservative ideal image of a way of life is being conjured up in order to discriminate and socially marginalise. At the same time traditional, normative definitions of belonging, nationality, religion, language, culture, gender and sexual identity seem to be being increasingly abandoned and individually redefined.

Falk Richter’s productions place humankind at the beginning of the 21st century and our ways of feeling, thinking and acting, centre stage. In procedural, experimental rehearsal periods, working with artistic forms of expression such as choreography, performance, classical and electronic music, the writer and director explores the depiction of contemporary western ways of life and emotion on the stage. Bjørn Melhus is one of the most famous video artists in Germany. His work investigates trauma and fear in mass media. For »FEAR« he collaborates with Falk Richter for the second time.

>>> Essay about the production in Pearson's Preview: FEAR and the German Far Right: Conversations with Falk Richter

Bella Figura

Cued 8-track installation on 20+ speaker system scored by Malte Beckenbach                                                                                                                                      


Bella Figura

by Yasmina Reza
Direction: Thomas Ostermeier
World Premiere


A man and a woman in a car-park outside a country restaurant. She, single mother and pharmaceutical technician Andrea, is still in the car. Her lover, glazing entrepreneur Boris, is trying to persuade her to get out – despite the faux pas he has just committed: mentioning the fact that this restaurant was recommended to him by his wife... »Bella Figura« explores the evening that follows this fatal mistake. A short while later, another couple enters the scene: Eric and Françoise, accompanied by Eric’s mother, Yvonne. It soon transpires that they are connected to the first couple in an unfortunate way.
This play is almost entirely set in the open air, on a day which is drawing to a close. I have never told stories in my plays so it should come as no great surprise that this is still the case. Unless you consider the faltering, heaving fabric of life itself to be a story. (Yasmina Reza)

For the first time, Thomas Ostermeier stages a play by Yasmina Reza. The author wrote the work specifically for the Schaubühne ensemble.

Andrea: Nina Hoss
Boris Amette: Mark Waschke
Françoise Hirt: Stephanie Eidt
Eric Blum: Renato Schuch
Yvonne Blum: Lore Stefanek

Original Musik by Malte Beckenbach
Additional Instruments: Christian Weidner (altsax), Max von Mosch (tenorsax), Karl-Ivar Refseth (vib), Andi Haberl (dr)


>>> Essay about the production in Pearson's Preview: Beautiful Corpses and Yasmina Reza’s »Bella Figura«

Complexity of Belonging

Cued 8-track installation on 20+ speaker system scored by Malte Beckenbach


World Premiere

written & directed by Falk Richter

directed & choreographed by Anouk van Dijk

for Chunky Move, Melbourne


From a long-standing and critically lauded collaboration comes a daring, politically charged work from two of dance and theatre’s most unflinching makers.

Uniting the charged choreography and direction of Chunky Move Artistic Director, Anouk van Dijk and the text and direction of Falk Richter, Complexity of Belonging is the product of two masters at work.

A powerful, darkly humorous exploration of identity in the age of social media, Complexity of Belonging peers into the lives of nine interconnected individuals as they grapple with the question: how and where do I belong? Nationality, gender, sexuality and history collide and fragment on stage in this audacious, theatrical exposé into the daily trials of surviving in a hyper-connected, hyper-sensitive, globalised society.

Complexity of Belonging is a masterful take on contemporary theatre, seamlessly integrating text, movement and music to create a work of theatre that is in and of its time.

Never Forever

Cued 8-track installation on 20+ speaker system scored by Malte Beckenbach


by Falk Richter and TOTAL BRUTAL | World Premiere


For his new project, Falk Richter is working with Nir de Volff and his dancers from TOTAL BRUTAL company for the first time. Various artistic signatures, passions and experiences of the performers come together in an open, improvisation-based rehearsal process. Falk Richter’s texts tell stories of people whose humanity is increasingly giving way to a post-human condition of being undead. They are scattered city warriors in survival mode, prepared to commit any extreme act in order to feel that they are alive; people who are infinitely replicated, self-styled beyond recognition in online profiles, thoroughly scrutinised and monitored. People who are no longer certain: is this still my life or am I living a script? People who know everything about the next person and hanker for intimacy, yet shy away from the first contact. The figurative forms and patterns of movement in Nir de Volff’s choreography, which can rapidly switch from brute strength to closeness, intimacy and vulnerability, tell in a different language how this world leaves its marks on the human body.

Foxes Suiten

Cued 8-track installation on 20+ speaker system scored by Malte Beckenbach                                                                          


Direction: Thomas Ostermeier

German translation by Bernd Samland

Regina, a banker’s wife, longs for a self-determined life – far from the drab provinces she never left; far from the mawkish hypocrisy of her husband, Horace, with his severe heart condition on whom she’s economically dependent; far from the maudlin nostalgia of Birdie, her sister-in-law who drowns her resentment in booze. Unlike her brothers Ben and Oscar – two nouveau riche social climbers who have elbowed their way into the old moneyed aristocracy – Regina has never managed to establish an independent existence for herself outside her role as a wife. When Marshall, an investor, offers the siblings a share in a soon-to-be launched company, Regina sees her chance: her brothers need her financial contribution. But when Horace guesses her intentions, he deprives her of the necessary funds as punishment for her greed. In order to get his money anyway, the three siblings – each for themselves, each against the rest – cook up a sinister plot, full of deceit and blackmail.


Birdie Hubbard: Ursina Lardi
Oscar Hubbard: David Ruland
Leo Hubbard: Moritz Gottwald
Regina Giddens: Nina Hoss
William Marshall: Andreas Schröders
Ben Hubbard: Mark Waschke
Alexandra Giddens: Iris Becher
Horace Giddens: Thomas Bading
Addie: Jenny König

Tour Dates

Paris (March/April 2014)
Wiesbaden (May 2015)
Athens (June 2015)
Rennes (January 2016)

For The Disconnected Child

3 Compositions for Moog, OP1 & Orchestra by Malte Beckenbach                                                                                                                                                


World Premiere

Co-Production with Staatsoper Berlin
Composition by Malte Beckenbach, Achim Bornhoeft, Oliver Frick, Helgi Hrafn Jónsson, Jan Kopp, Jörg Mainka, Oliver Prechtl
Conductor: Wolfram-Maria Märtig

Falk Richter’s new project examines the human desire for connection, the quest for encounter and the yearning for fulfillment in a cosmos of increasingly fleeting concepts of lifestyles, relationships and society. In »For the Disconnected Child« individuals search for meaning, fulfillment, the next kick, connection with one another – they encounter each other, they lose each other and they find each other. For the first time, actors of the Schaubühne team up with dancers and singers and musicians of the Berlin Staatsoper to create a series of scenic compositions, album-like tracks where text intersects with new music, drama meets musical theatre and singing encounters choreography. In collaboration with Icelandic singer-songwriter, Helgi Hrafn Jónsson, Falk Richter creates this album of scenic tracks – joined by seven young composers of new music who respond to the material, arrange and re-compose it; the stage becomes a testing ground on which the relationships between dancers, singers, musicians and actors are constantly re-negotiated, re-connected and released.

An Enemy Of The People

Cued 8-track installation on 20+ speaker system scored by Malte Beckenbach & Daniel Freitag


Direction: Thomas Ostermeier

In a version by Florian Borchmeyer


Dr. Stockmann discovers that the source of drinking and spa water is riddled with pathogenic micro-organisms, caused by industrial effluence. Stockmann wants to publish the findings in the newspaper and demands that the city council re-route the water pipes. Influential citizens and local journalists promise their support. However, his brother Peter, the mayor, raises some serious concerns: The economic prosperity of the spa town will be threatened. Suddenly the support for Stockman from the town's policymakers begins to wane. They spread seeds of doubt about his plans and try to cover up the fact of the contaminated water. But Stockmann insists on transparency and intends to go public on the matter. For him the affair has long since ceased to be about the polluted health spa, his target is society as a whole. Ibsen's drama wavers on a fine line between honesty and fanaticism. What is the potential for transparency in a commercialised society?


Tour Dates

Avignon (July 2012)
Melbourne (October 2012)
Lyon (January/February 2013)
Montreal (May 2013)
Quebec (May 2013)
Athens (July 2013)
Venice (August 2013)
São Paulo (September 2013)
Buenos Aires (October 2013)
New York (November 2013)
Paris (January/February 2014)
Rennes (March 2014)
Siegen (May 2014)
Istanbul (May 2014)
Oslo (September 2014)
London (September 2014)
Moskau (October 2014)
Belfast (October 2014)
Cluj-Napoca (November 2014)
Lausanne (February 2015)
Delhi, Kolkata and Chennai (February 2015)
Naples (June 2015)
Pilsen (September 2015)
Tbilissi (October 2015)
Minsk (October 2015)
Bogotá (March 2016)
Torún (May 2016)
Seoul (May 2016)
Copenhagen (June 2016)

Santiago de Chile (Januar 2017)

Shizuoka (April 2018)

Singapur (Mai 2018)

Göteborg (August 2018)

Peking (September 2018)

Nanjing (September 2018)

Berkeley & North Carolina (October 2018)


Protect Me

Cued 8-track installation on 20+ speaker system scored by Malte Beckenbach & Mathias Grübel


Text: Falk Richter
Direction and Choreography: Falk Richter and Anouk van Dijk

World Premiere


I am just like all this stuff that is happening around me, I am behaving just as irrationally as this economy, which keeps making completely sudden and impulsive gestures, and who you warily try to avoid like some seriously neurotic lover, who vacillates between depressed lethargy and hysterical overreaction and then has to be pacified with tonnes of money and you can't leave it alone for a second without it doing something really stupid and which is constantly threatening to fall apart at the seams or take itself off to a different country where it can get all those things that it had searched for in vain with us, for much cheaper and much better, and which wants to be courted, constantly, with millions and even more millions and with tax free incentives and privileges. This economy is the last Diva for whom we are truly willing to give up everything. And like stupid young boys we are constantly running around after it, trying to get it in hand, but we have no means, no instruments, to tame this hysterical market. It somehow wants to constantly tear our whole life apart, it wants to throw our forms of society and state over board, it chucks us about like flotsam while we are somewhere sitting about with a therapist trying to find out WHO WE REALLY ARE, DEEP DOWN INSIDE and learning TO RESTRICT OURSELVES TO THE FUNDAMENTALS, meanwhile the market is lustfully squandering our millions, one after the other, having a nice couple of days for itself with our credit cards, burning through all the reserves we have so carefully put by in recent years, it dances and celebrates and has fun while we simply sit there like confounded idiots and watch it all in disbelief and we have no idea how we are ever going to find a way to actually relate to all that is happening right before our very eyes! And by now, all we do is watch, we don't actually DO anything anymore. I think its high time we saw some people who actually do something, who actively do something, people for whom the word crisis does not trigger a pathetic state of paralysis but people who have realized that this word is an instrument of power: where is the next cut back, who is next for the chop, a constant state of emergency. But the crisis is the new constant state and the people are being torn apart, both inwardly and outwardly, by this incessant state of insecurity, of panic, of fear, of longing, of hysteria, of search for a different life. Nothing is dependable from now on, everything can, at any given moment, simply fall asunder, how do I deal with that? what can I rely on? who or what can I use to orientate myself and how do I finally EXPERIENCE something substantial again?
Retreat? Silence? Departure?

The collaboration between Falk Richter and Anouk van Dijk began in 1998 with »Nothing Hurts«, an evening about injury, vulnerability and the numbness of a youth spent in the 90's. »TRUST« was the first continuation of this exceptional dialogue between author and choreographer, director and dancer. Falk Richter's texts, with its exposee on the labyrinthine machinations of the world, the deferred discussions and the private longings for a lasting sense of trust, were given, through gestures of isolation, grotesque air numbers and futile approaches both physical and theatrical wings.


Cued 8-track installation on 20+ speaker system scored by Malte Beckenbach



by Edward Bond
Direction: Benedict Andrews


German translation by Klaus Reichert


»Saved« depicts a world in which it seems as though there is no hope. The young Len moves in with his girlfriend Pam, who still lives with her parents. The parents, Harry and Mary, haven’t spoken to each other in years. Very soon Pam’s initial affection for Len also flips over into its brutal opposite. Undisturbed Len sticks to her, although Pam constantly makes him feel her contempt. She falls in love with Fred, a thug in Len’s gang, and quickly falls pregnant by him. When Pam leaves the pram unattended in the park, the baby is brutally attacked and killed by Len’s thugs. Fred looks on detached. Edward Bond has called »Saved« an »almost irresponsibly optimistic play«. This optimism displays itself above all within the character of Len, who recognises the hopelessness of his fellow human beings but still does not turn away from them.


Multichanel live performance (using electronic devices, guitar, voice & piano) by Malte Beckenbach


Text: Falk Richter
Direction and Choreography: Falk Richter and Anouk van Dijk

World Premiere


In their project »TRUST«, Falk Richter, author and director, and Anouk van Dijk, dancer and choreographer, and an ensemble made up of actors from the Schaubühne and dancers from the anoukvandijk dc company, explore the shaky foundations and mechanisms of human bonds against the background of current crises. Relationships build up and break down in ever shorter time-scales; they become a resource in an increasingly intense competition. Binding, seperating. Buying, selling. A picture is presented of human beings who, over the years, have radically intensified modern individuality and celebrated independence as an ideal.
In 2000, Falk Richter and Anouk van Dijk were invited to the Theatertreffen festival in Berlin with their choreographic production »Nothing Hurts« and appeared at the Schaubühne. Over the years, they kept an eye on each other’s work and followed up on the idea of a collaboration of dance and theatre.


A co-production with anoukvandijk dc
Supported by the Nederlands Fonds voor Podiumkunsten+, the community of Amsterdam (Gemeente Amsterdam) and the embassy of the Kingdom of the Netherlands.



Tour Dates

Madrid (May 2010)
Avignon (July 2010)
Amsterdam (November 2010)
Groningen (November 2010)
Rotterdam (November 2010)
Perth (February 2011)
Montreal (May 2011)
Forbach (May 2011)
Macau (May 2015)
Tianjin (June 2015)
Beijing (June 2015)

Fotos by Arno Declair