Burning Down the House: A Conversation about „The State“

Annegret: There’s a black table with a square pit in the middle. It contains a stack of envelopes. A stark spotlight illuminates the table, and a microphone dangles from the ceiling. We’re seeing “The State” by Bulgarian playwright Alexander Manuiloff. Well, we’re not exactly seeing it. We’re participating in it. We’re expecting it to start but… Burning Down the House: A Conversation about „The State“ weiterlesen

OK, OK: Reflections on „Die Schutzbefohlenen“

“Just write something!” OK, OK. When the actors speak in German, there are English surtitles. When the actors speak in English, there no German surtitles. Why is “dolphin” in all caps? DOLPHIN. DOLPHIN. DOLPHIN. A crucifix. Evening gowns. Hoodies. Zippers. Barbed wire. Teddy bears. What role does pity play in the theater? After the show,… OK, OK: Reflections on „Die Schutzbefohlenen“ weiterlesen

„Miserable, and full of possibility“

In 2010, New York Times movie critic A.O. Scott published an essay about the state of criticism. How did he see its future? “Miserable, and full of possibility.” The first half of that answer might be unique to the U.S., or at least to the English-speaking world. Criticism, and the level of intellectual discourse around… „Miserable, and full of possibility“ weiterlesen

Rebecca Jacobson

Redakteurin für Bühne bei Exberliner. 2012-2015 arbeitete sie als Theaterkritikerin, Reporterin und Redakteurin bei Willamette Week in Portland, Oregon. Studierte Geschichte an Brown University in Providence, Rhode Island. Interessiert sich für Fahrräder, Berge, Archivforschung, deutsche Redewendungen und Backwaren aller Art. Stage editor at Exberliner. From 2012-2015, she worked as a theater critic, reporter and editor at Willamette… Rebecca Jacobson weiterlesen