Marina Davydova (Theatre magazine) and Anton Dolin (The Art of Cinema magazine) will discuss why the German theater began to set trends in the world's theatrical art at the beginning of the twenty-first century, and German cinema did not.
Michael Thalheimer, Thomas Ostermayer, Christophe Martaler, Schaubühne, Volksbühne, Berliner Ensemble—for any person following the world theatrical process, the names of these directors and theaters are a sign of quality, a model of modern theater, and the leading lights of European theater life. When talking about the concept of the "German theater", we not only mean the directors working in Germany, and the entire German-speaking zone, including Austria and the corresponding part of Switzerland today, but also foreigners who are active in Germany—Italian Romeo Castellucci, Englishman Simon McBurney, Spaniard Angelica Lidell, and Englishwoman Kathy Mitchell, whose best performances took place in Germany, and not in Britain.
What is the secret of the success of the German theater and its world recognition? And why is there a diametrically opposite effect in German cinema? The trendsetters of European cinema in the twenty-first century have been the Romanians, and of the world—Asia, while one of the richest and most successful film-producing countries with huge cultural traditions has lost its leading position today. Anton Dolin and Marina Davydova will help the audience to understand the reasons for these phenomena.
In the framework of the International festival New European Theatre NET in the cinema.
