Photo: Archive
When Frank Castorf’s directorship at the Berliner Volksbühne came to an ignoble end in 2017 through an act of treason – the culprit, as so often, was the social democracy -, at the end the big celebration was held at Rosa-Luxemburg-Platz. While some looked back nostalgically at “their” Volksbühne, the art of tomorrow was already being celebrated elsewhere: On the same evening that an era was bid farewell with a street festival in Berlin-Mitte, the German-Norwegian artist duo Vegard Vinge and Ida Müller set up her “National Theater Reinickendorf” in a warehouse. “The theater is the noose” was read on the stage on the opening night. And that was it: deeply involving the viewer and, if in doubt, life-threatening.
The two were not seen in German theaters for seven years. Now they are to take over the management of the Volksbühne, initially for three years, as the “Tagesspiegel” first reported. Berlin’s Senator for Culture Joe Chialo, whose strict austerity dictates have made him unpopular in the capital’s theater scene, could hardly have been expected to have so much courage to engage unpredictable artists freed from all scruples.
The director and actor Vinge and the set designer Müller have been working at the Volksbühne since 2008 and managed to attract a young, experience-hungry, but not necessarily theater-savvy audience. Her art has a lot to do with intoxication and trips. Twelve-hour spectacle until dawn, bright colors, shrill sounds. And of course Vinge’s trademark: No spectacle without piss and shit. Things should soon be pleasantly non-culinary again at the Volksbühne.
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