Theatron Members

The Theatron network was founded by 12 European houses – smaller and bigger institutions, repertory companies and festivals, together with Berlin University as scientific partner. Schools, research and educational institutions join as associated partners. Below is an short portrait of each Theatron founding member. More detailed information can be accessed within the profiles.

Odense Teater (Coordinator)

Odense_teaterAs early as 1796 Odense Teater was engaged in producing theatre on a professional basis. In 1914 Odense Teater was established at the present location in Jernbanegade, home to Hans Christian Andersen. Being a theatre for the province of Funen, Odense Teater is under an obligation to produce a comprehensive repertory consisting of Danish as well as foreign classics and contemporary plays consisting of performances for children and young people, musicals as well as dance performances.  Odense Teater has an ensemble consisting of about 25 actors who work continuously during the season. The entire staff consists of more than 100 people. In 2011-12 the yearly turnover is app. 75 mill DKR (app. 10 mill Euro)

The vision of Odense Teater is to develop its role as a cultural dynamo with Vision and knowledge. The mission of Odense Teater is to contribute to cover the needs for theatre in the entire county of southern Denmark by presenting a versatile repertoire consisting of older as well as modern dramatic pieces. Odense Theatre lead and participate in experiments and special initiatives, whose goal it is to attract new groups of audiences. So far Odense Theatre have identified and launched activities for: 1. People with other cultural backgrounds than Danish, 2. Young People, 3. Men

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Théatre de Gennevilliers, France

T2G_1Over the past six years, people have been meeting at the theatre de Gennevilliers through artistic projects, creative workshops, and open rehearsals. The theatre has developed an ensemble of crossings between the different arts, in both conception and realization, and is without doubt, the only one to propose: theatre, dance, opera, children’s theatre, film shoots, contemporary art created onsite, philosophy; as well as, open rehearsals, writing workshops, “non-professional” participants in performances, open from noon to midnight, restaurant, “free” library, free Internet access and posts for people in Gennevilliers.

The T2G does not randomly select within the field of living arts but, on the contrary, uses a strong critical approach to the annual productions, both French and international. Thus, it assembles theatre, dance, lyrical art, cinema, visual art, writing and philosophy. Playwrights, choreographers, composers, filmmakers, philosophers and visual artists (living artists – an important distinction – French and from abroad) nourish this project, meeting, influencing and collaborating across the various disciplines.

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Sadler’s Wells, United Kingdom

Sadler_s Wells LPSadler’s Wells is Britain’s premier venue for dance in all its forms. It presents an exciting international programme of visiting companies alongside the best UK contemporary dance companies. With a turnover in excess of £18m (2010/11) Sadler’s Wells has had strong artistic and operational leadership by Artistic Director and CEO Alistair Spalding since 2004. Sadler’s Wells is uniquely dedicated to bringing the very best international and UK dance to London audiences. From contemporary dance to tango, hip hop to flamenco, tap to kathak, choreographers are reinventing dance and undertaking bold collaborations with visual artists and musicians. Sadler’s Wells is playing a leading role in making this happen through the commissioning of new work.

In addition to the talented visiting companies presented on Sadler’s Wells three stages, a group of associate artists and companies feature strongly within the creative learning programme. They include Matthew Bourne, Sidi Larbi Cherkaoui, Jonzi D, Akram Khan, Wayne McGregor, Jasmin Vardimon, Sylvie Guillem, Russell Maliphant, Kate Prince, Nitin Sawhney and Hofesh Shechter. Sadler’s Wells has run pioneering audience development initiatives in dance. Breakin’ Convention, the International Festival of hip hop dance theatre has been produced annually by Sadler’s Wells since 2004. In March 2009, Sadler’s Wells launched the Global Dance Contest – an online competition to find new dance talent from around the world.

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Staatsschauspiel Dresden, Germany

staatstheater-dresden-1The Dresden State Theatre (Staatsschauspiel Dresden), founded in 1913, ranks among the most important German drama theatres. In 2009, Wilfried Schulz took charge as the new Artistic and General Director. Resident directors are Julia Hölscher and Tilmann Köhler. The ensemble comprises 37 actors, and the annual schedule includes around 25 to 30 new productions.

In the season 2010.2011, the Dresden State Theatre welcomed a record high of 211,500 spectators, and played abroad before. It also houses a “Citizens’ Stage” (“Bürgerbühne”): the public is invited to actively participate in the theatrical arts. It has since gathered about 500 participants in its first season. The “Citizens’ Stage” is the largest project of its kind in German theatre education, and, in addition to c.10 theatre “clubs” (“Bürgerclubs”) it brings out 5 full-grown productions per season.

The Dresden State Theatre has two performance venues: an 800-seat theatre and the “Kleines Haus”. Apart from contemporary drama and many international projects, the “Kleines Haus” maintains a focus on experimental and documentary theatre (e.g. Rimini Protokoll and others).

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Divadlo Archa Theatre, Czech Republic

archaArcha Theatre is a dynamic place where artists and companies from around the world can meet and actively cooperate. The Theatre serves approximately 40 000 visitors with 200 performances per year. Its staff consists of 13 fulltime employees and dozens part-time and external collaborators. The joint performance of Min Tanaka and John Cale, which officially opened the Archa Theatre in 1994, was a clear hint about the future direction of the theatre’s dramaturgy. The encounter of a Japanese dancer and an American musician symbolized the connection of two cultures, two genres and two continents. Archa Theatre strives to examine art’s possibilities, to provide a space for innovative ideas. The Archa Theatre has introduced many leading artistic personalities from around the World to Czech audiences, including director Robert Wilson, choreographers Wim Vandekeybus, and Jan Fabre, musicians David Byrne, Randy Newman, Philip Glass, and many others. The American poet Allen Ginsberg gave one of his last performances at Archa Theatre.

Home-grown projects by young artists are conceived and developed under the auspices of the Archa.Lab. Many of Archa’s projects have met with international acclaim and have been presented at festivals in Bonn, Johannesburg, London, Kyoto, Tokyo, Belgrade, Brussels, and Berlin, Seoul, New York and other cities.

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Uppsala Stadsteater, Sweden

uppsalaUppsala City Theatre shall be Sweden’s foremost/prime artistic theatre – a new type of local scene with international collaborations. Uppsala City Theatre’s vision is about putting creativity up front, the residents of Uppsala should have access to an open, challenging and lively theatre, and the theatre should be a pride for the city and help contribute to the cities long term development.

We believe that a city theatre shall be a central meeting point where both local and national issues can be dramatised and processed in different ways. Uppsala city theatres role is both to be totally present in our age and in our town but also to give free rein to the yet untried even when it may appear to be uncomfortable or even ugly, to deal with issues and art forms that may only affect few people in the audience but thereby start a butterfly effect. The theatre has 4 different venues and produces around 12-14 own productions each year. In addition to our own productions we also host guest productions, have collaborations and produce the international performance festival TUPP, for an audience of about 60.000 people each year.

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Aalborg Teater, Denmark

aalborgAalborg Theatre has an obligation to contribute, covering the need for theatre in the North of Jutland by producing a wide range of quality theatre put together from the old and the modern repertoire and with a priority of Danish drama, and especially new Danish drama. Aalborg Theatre should, as part of the production, develop the art of theatre through experimental projects and initiatives.

With unique theatre performances Aalborg Theatre intends – as the national stage in North of Jutland – to be among the best and most inventive theatre producers in the Scandinavian countries. Artistically, Aalborg Theatre wants to be the biggest and leading producer of theatre in the region (North of Jutland). They want to be the place where the audience get more and different experiences than they might have expected.

Aalborg Theatre wants to be one of the most attractive and dynamic artistic business companies in Denmark. With high demands for quality theatre, they want to recruit and develop the best and most talented and well educated people and base their production on a large ensemble of actors (right now the biggest in this country.)

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Freie Universität Berlin (IKM), Germany

fu-berlinSince 2008 the IKM has concentrated its research on transformation processes in culture and media. Its Center for Audience Development (Zentrum für Audience Development, ZAD) is an interdisciplinary, practice oriented institution within the Institute for Arts and Media Management at Freie Universität Berlin. Objects of the work of ZAD are the conceptual and organizational prerequisites that apply to attracting, retaining, and developing cultural audiences of today and tomorrow. Audience development is thereby understood as a holistic term which denotes mediation of culture as the the core mission and nominal goal of cultural institutions.

ZAD´s work focuses on empirical studies, cultural market research and audience research, analyses of cultural institutions’ demand and visitor orientation, presentation of best practice examples of groundbreaking cultural mediation across all artistic genres, and the development of its own concepts of audience development. The main focus of interest are institutions of the traditional fields of culture, such as music (musical ensembles, concert halls), theater (including opera and dance), and art/history (museums, monuments).

In addition, the IKM is core of and platform for various transdisciplinary and practice oriented research and consulting activities in areas of media research, the media industry, and cultural education. These are usually undertaken jointly by teaching staff, graduates and current students.

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Sheffield Theatres, United Kingdom

sheffieldThe UK’s largest regional theatre complex, Sheffield Theatres is comprised of a unique arrangement of three different venues: the Crucible (1,000-seat, thrust stage), the Lyceum (1,100-seat, proscenium) and the Studio (flexible space with up to 450 seats).

The organisation is a source of great local, civic and regional pride, and enjoys national and international recognition. Its distinctly broad and ambitious programme of work is based on the values of BOLDNESS, PASSION and ENRICHMENT in order to produce for its audience (sometimes by its audience) world-class theatre of the highest order, made by a combination of leading and emerging artists, alongside a dedicated and highly skilled core team of craftspeople.

Sheffield Theatres is proud of the value it has brought to the city, the region and the country. In November 2011, the Crucible will turn 40 and will stage a host of productions and events inspired by its reputation for staging great classic plays and dazzling musicals; its commitment to developing artistic talent and offering a place for local artists to explore the arts and its ambition to remain at the heart of the country’s cultural life. The Crucible began its 40th birthday season with One Monkey Don’t Stop No Show, a co-production with Eclipse Theatre in the Studio, and its first ever production of Shakespeare’s Othello in the Crucible, with Dominic West and Clarke Peters.

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Hellerau Dresden, Germany

HellerauAs long as 100 years ago Hellerau Festival Theatre earned its reputation as a “Laboratory for the Modern Age”. Inspired by the Lebensreform (Life Reform) back-to-nature movement and the Garden City concept, new ideas on rhythm as an artistic concept fell on fertile ground and a space to grow in Hellerau.

Hellerau has set itself the ambitious task of becoming one of the most important centres of the contemporary arts in Germany and in Europe once again. Focusing on contemporary dance and contemporary music, but also with modern forms of theatre, and as a centre for the contemporary fine arts, Hellerau aims to re-establish itself as a “Laboratory of the Modern Age”.

At Hellerau the main task is and has always been the Contemporary Arts. It is all about turning Hellerau into a lively interdisciplinary arts centre that is modern, sophisticated and successful in every respect: one that is provocative, radical, global, European and situated at the geopolitical point where East meets West. A working environment for the arts, a site for intercultural and interdisciplinary exchange; a place where the arts develop, are created and displayed, but also a place for reflection, contemplation and looking ahead. The arts cannot merely be self referencing, related to appearance, beauty and form. The arts should and must become involved elsewhere. The major topics and problems we face – hunger, poverty, the climate, regulating globalisation so that it is compatible with human life and makes sense for society, all profits aside – these topics too will be addressed.”

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Aarhus Teater, Denmark

aarhusAarhus Theatre is the biggest theatre outside Copenhagen, founded 1900 and consists of 5 stages. We produce up to 15 performances every year; we have a permanent ensemble of 16 actors and 30 actors on production contracts. The theatre in all has 130 employees and up to 500 people that passes through the house on different contracts each year. Aarhus Theatre also runs two schools: Aarhus School of acting (4 years) and The drama School, for stage writing (3 years). Each school has a principal reporting to the artistic director.

Aarhus Theatre mission is to create artistic theatre of all forms and genres in accordance to the theatre law. The art and theatre has the task of discussing the time and the society we live in. Optimally, the theatre could help people to see contexts in their own lives, understand themselves and others better and to contribute so a society with a great degree of tolerance. Art is man´s hallmark, and Aarhus Theatre should perform a role model for democracy, an image of a well-functioning modern democracy.

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Fondazione Romaeuropa, Italy


The Romaeuropa Foundation is one of the most prestigious cultural institution in Italy, that crosses the contemporary with the energy of those who imagine the future and challenge the impossible in the field of performing arts.

In 29 years the Romaeuropa Festival’s mission has focused on programming the best international artist’s performances. 40 countries involved, Romaeuropa’s program exceeds the usual distinction between “high” culture and “mass”. Thoughtful and provocative, sometimes controversial but most non-conformist, the cultural offering of Romaeuropa Festival ranges from electronic music to contemporary dance, rereading great works of literature and offering a new artistic vision of a deconstructed traditional language.

Vibrant and technological heart of the activities of Romaeuropa is DigitaLife, an artistic survey project based on the link between the digital art language and its relation with technological innovation. Presented since five years every time in different locations, DigitaLife represents a bet on the chance to talk concretely about art and new technologies, a multimedia exhibition in terms of a reality contaminates one another, renews languages and expands the horizon.

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