Bielefeld Theater

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Bielefeld Theater
Stadttheater am Niederwall. One of the three venues
location
Address: Am Niederwall 27
City: Bielefeld
Coordinates: 52 ° 1 '15 "  N , 8 ° 32' 6"  E Coordinates: 52 ° 1 '15 "  N , 8 ° 32' 6"  E
Architecture and history
Construction time: 1902-1904
Opened: April 3, 1904
Spectator: 725 seats in the city theater
Architect: Bernhard Sehring
Internet presence:
Website: https://theater-bielefeld.de/
Theater on the Old Market (TAM)
Town hall, city theater and tram stop today

As a stage and orchestra of the city of Bielefeld , the record on Theater Bielefeld and Bielefeld Philharmonic total of eight venues in three houses: City Theater, Theater at the Old Market (TAM) and Rudolf-Oetker-Halle . With a total of almost 3200 places, they form the second largest cultural institution in North Rhine-Westphalia .

profile

The Bielefeld Theater and the Bielefelder Philharmoniker are among the largest cultural providers in the region, with over 200,000 visitors each year with around 600 performances in musical theater, drama, dance and drama. As a result, they not only determine the local variety of programs, but also enjoy national attention far beyond the borders of East Westphalia with their varied program. It lives and changes with its audience. Every employee contributes to the fact that creative ideas and visions find expression on the stage.

Since 2005 the artistic profile of the house has been shaped by artistic director Michael Heicks. One of his main focuses is the promotion of contemporary plays, which is why the Bielefeld Theater regularly has premieres and German-language premieres on the program. In addition, Heicks brought contemporary dance theater to Bielefeld for the first time with the chief choreographer Gregor Zöllig . The theater and concert pedagogy was also systematically developed under Heicks.

Michael Heicks was able to continuously increase the number of visitors. Among other things, the theater received invitations to the Hamburger Autorentheatertage, the Mülheimer Theatertage and the Heidelberger Stückemarkt, as well as numerous nominations in critical surveys. In 2018, under Heick's leadership, the company merged with the Rudolf-Oetker-Halle.

history

From the first idea to the foundation (1885–1913)

Artist card from 1910: Left the town hall, right the Stadttheater am Niederwall

In 1885 the widow of the tobacco manufacturer Crüwell donated 10,000 marks to build a theater and concert hall. A year later, the amount had doubled thanks to additional donors. The money grew to 43,000 marks by the end of the 1880s.

At the turn of the century, the planning of the city theater took shape: in 1900, the theater director Oscar Lange signed a contract with the city council that a good third of the estimated 500,000 marks had to be raised by donations from Bielefeld residents so that the theater could be built. Financing was successful and work began based on a design by the Berlin architect Bernhard Sehring , who had already built the Theater des Westens . The foundation stone was laid in June 1902.

The theater was opened on April 3, 1904 with the »Jubilee Overture« by Carl Maria von Weber , whereupon Schiller's "Maiden of Orleans" was performed. For Oskar Lange, everyday life in the theater began; but initially only played until May 8, 1904. The first full season began in September and lasted until April, and this rhythm was continued in the early years. 136 different works were shown, operas were initially only performed as “monthly operas ” with guest singers. In 1906 Norbert Berstl succeeded Oskar Lange. Since the theater had to finance itself, mainly operettas and comedies were on the program.

After the death of Norbert Berstl in 1913, his son Willhelm took over the position of sole director. In addition to the vast majority of operettas, classical drama was also regularly shown under his direction.

The Bielefelder Theater during and after the First World War (1914–1932)

During the First World War , the city theater remained closed except for a few guest performances. Willhelm Berstl was drafted and Max Cahnbley succeeded him. In May 1918 the city of Bielefeld took over the theater and opened a "municipal director's theater". This was the first time that the city theater was publicly subsidized. More emphasis could be placed on artistic quality and on a solid ensemble . Cahnbley remained musical director, Richard Starnburg became acting director . The director concluded a cooperation with Minden and Herford . In September the theater opened in the musical theater section with Mozart's “Magic Flute” and in drama with Goethe's “Iphigenie”. In addition, the city took over the orchestra with 44 members in 1919 , whereby operas were integrated into the current program.

In 1921 the theater had its first financial crisis. According to the Westfälische Zeitung of January 20, 1921, the city was supposed to pay a high subsidy, with which the theater council should be compensated. The city decided against leasing it again and instead decided to save the position of theater director, making Max Cahnbley the sole director. Despite the financial worries, a fruitful time began under Cahnbley's leadership. Cahnbley was also to be credited with the fact that from the 1925/1926 season there were year-round contracts for the employees, which was beneficial for both the audience and the artists . In the 1925/1926 season the building at Brunnenstrasse 3 was added to the theater. With that, the theater finally had a rehearsal stage and a choir hall.

In 1926 the city decided to convert the theater into a GmbH in order to have to pay fewer subsidies. The Stadttheater celebrated its 25th anniversary in 1929, but the joy did not last long, as there were again financial concerns about the preservation of the institution. Although the artists waived part of their fees in 1932 and the wages of the stage workers were lowered, the theater remained in deficit and another financial crisis ensued .

The time during National Socialism and the Second World War (1933–1945)

Max Cahnbley was dismissed without notice on April 19, 1933, after the National Socialists came to power . The new director was the opera singer Leon Geer. The classical dramas gradually disappeared from the program under his directorship. The GmbH was dissolved on May 16 and the theater was again a municipal company. From 1936, under the direction of Alfred Kruchen, more emphasis was placed on spoken theater .

In 1937 the auditorium and the stage were rebuilt. In addition, additional rooms were added at Brunnenstrasse 5. The renovation of the city theater lasted from June to September. It was reopened on September 25th with a festival performance of Goethe's “Faust”. From 1939, with the outbreak of the Second World War , the city theater was officially "used in the war", in other words, closed performances were shown for the Wehrmacht .

On the instructions of the Reich Ministry for Public Enlightenment and Propaganda , all theaters, variety shows and cabarets were closed from September 1, 1944, including the Bielefelder Stadttheater. A special order was waiting for some of the employees at the end of December: "To delight entrenched people with artistic lectures". After the end of the war, the new beginning proved extremely difficult. The building had been damaged during the war and the city allowed the actors' contracts to expire on July 31, 1945. In addition, the British allies imposed a general ban on acting. Only concerts, operas and ballet were allowed.

The reconstruction of the house (1946–1969)

The director Kruchen was dismissed without notice in July 1945. There were temporary persons responsible for the management of the city theater: the music director Hans Hoffmann was appointed to the theater. Since Hoffmann did not want to keep this post permanently, however, the singer and director Georg Goll was the acting director of the theater until June 1946.

Theater people founded the “Notgemeinschaft der Bielefelder Bühnenschaffenden” in autumn 1946 and took care of the construction of the city theater. The city provided the orchestra and the two buildings - Stadttheater and Rudolf-Oetker-Halle - the artists bore the financial risk. Each artist could be terminated with a notice period of 14 days and the salary reduced in the event of a loss of income. On October 14th, “Fidelio” was shown in the Rudolf-Oetker-Halle. The performances were very successful, after which the emergency community was back in the black. From December there was financial support from the city. and the city theater reopened on December 1, 1946 with Mozart's “Magic Flute”.

Hermann Schaffner became the new director on June 26, 1947 and Benno Hattesen became senior director in the 1947/1948 season. Schaffner set new accents in drama, which also became known nationwide. In 1950 the Theater am Alten Mark was opened as a new venue in the former town hall. The TAM gave the theater its own venue in Bielefeld.

The city council decided in January 1950 to keep the theater in all branches despite another financial crisis. At the suggestion of Lord Mayor Ladebeck, the Society of Theater and Concert Friends was founded on January 18, 1951. In the following year Bernhard Conz became the new municipal music director, which began the glamorous "era of Conz": Among other things, he enlarged the orchestra and promoted the performance of modern works. A new orchestra rehearsal room was also set up. In 1953, Hermann Schaffner moved to the Staatstheater Kassel as artistic director, whereupon Herbert Decker became his successor, who ran the theater until 1958. Decker attached great importance to the maintenance of operas and modern musical theater. The city theater celebrated its 50th anniversary in 1954 with the plays "The Maiden of Orleans" and The Mastersingers of Nuremberg . Joachim Klaiber became the new director in 1958/59.

With »Kiss me, Kate«, the first musical was given in May 1959 in the Bielefeld City Theater. On November 19, 1960, the “Studio Theater” opened in the basement of the Theater am Alten Markt with approx. 100 seats and became the antithesis of the “popular” drama. It lasted ten seasons. Joachim Klaiber moved to Kiel. He was followed from 1963/64 to 1970 by Horst Alexander Stelter, who was previously director in Pforzheim.

The rise of the theater (1970-2003)

In 1970 Hans-Walter Deppisch became the new director. In February 1971 a theater scandal began in Bielefeld with quarrels between the personal assistant of the artistic director Artur Gracian and the stage technology. Intendant Deppisch stood behind Gracian and the crisis finally culminated in the fact that Deppisch and the city of Bielefeld dissolved the contract by mutual agreement in April. As a result, general music director Bernhard Conz took over the acting management of the theater for two seasons. The city theater was closed from April due to renovation work. Instead, the play took place in the TAM, in the Rudolf-Oetker-Halle and in the Herford City Theater . The city theater was reopened on November 14, 1971 with Verdi's “Othello”. Peter Ebert , previously director in Augsburg, took over the management of the Bielefelder Theater for two seasons in 1973/74.

Georg-Wilhelm Schmöhe became the new general music director in 1974/75 and initiated concerts for children and young people, among other things. The artistic direction of Heiner Bruns began in the season 1975/76. During this time, the Bielefeld Theater gained a national reputation in the field of music theater . Director John Dew first came to Bielefeld as a guest in 1978 and became senior director after three years. For 15 years, Dew, together with the set designer Gottfried Pilz and the dramaturge Alexander Gruber , shaped the Bielefeld music theater with his productions. This gave the theater a national and international reputation. In 1995 John Dew moved to Dortmund as artistic director.

For the 75th anniversary of the city theater, the facade was returned to its original state, as the balcony, which was accessible from the foyer in the first tier, was missing in particular.

In 1992, the Dürkopp building on Brunnenstrasse became part of the theater: an orchestra rehearsal room, two rehearsal stages (one of them with a revolving stage), set and prop storage, workshops, costume stocks and tailoring moved into it.

Renewed austerity measures forced the reduction of theater staff. In spite of this, on October 1, 1994, the “TAMoben” opened as the smallest venue in the Bielefeld theater. Regula Gerber became the new director in the 1998/1999 season. With their program they put emphasis on contemporary music theater and acting. The new general music director of the Bielefeld Philharmonic was Peter Kuhn , the ballet director was the Briton Philip Lansdale, and senior stage director of the Gregor Horres music theater .

There were two reasons to celebrate in the 2000/2001 season: the Philharmonic has existed for 100 years and the TheKos (theater and concert fans) celebrated their 50th anniversary. The game was only possible under strict security conditions. There were deficiencies in the stage technology and only the bare essentials could be repaired. Premieres had to be postponed and performances were canceled.

The renovation (2004-2006)

After the Bielefeld Theater Foundation was established in 2001, the city transferred ownership of the Stadttheater building to it in 2004. In doing so, she obliged the foundation to renovate the listed building and then make it available again for gaming operations. The cost of the renovation was estimated at 23 million euros, which were raised by the municipal utilities , the Sparkasse , the city of Bielefeld and donations. On April 3, 2004, the city theater celebrated its 100th birthday with a three-day festival program. The 2003/2004 theater season ended with a closing party. The lights of the city theater were then extinguished for the next two years due to the renovation work.

Construction work began in September 2004; The architects Beneke and Daberto from Munich were responsible for the renovation. During the two-year construction phase, the Bielefeld Theater played next to the Theater am Alten Markt, the Rudolf-Oetker-Halle and the theater laboratory. During the renovation, great importance was attached to the redesign of the stage and the theater hall, so that optimal conditions for the spectators and the theater were created. In addition, the orchestra pit was enlarged, a new foyer was created, a bridge to the Dürkopp building was built and an extension was built in the inner courtyard of the town hall , creating new delivery points, a dance hall and a locksmith's shop. From May 2006, the stages and orchestras of the city of Bielefeld moved back into the building step by step.

Michael Heicks, the acting director of the Theater Bielefeld, was unanimously elected as the new artistic director in July 2004. He took up his post on January 1, 2005, as Regula Gerber left her contract prematurely.

The reopening (2006-2013)

On September 15, 2006, the festive reopening took place with a theater festival and an “open day”, during which all theater fans were able to convince themselves of the successful renovation. Michael Heicks opened the first season of his directorship. The dance theater was renewed under Heicks, with Gregor Zöllig and Christine Biedermann as artistic directors.

With the premiere of “Zeitsprung - Four Generations Dance Four Seasons” , a dance project series started in May 2007 in which the dancers of the Bielefeld Dance Theater worked out a choreography together with amateurs. Since then, Zeitsprung and the follow-up projects PHASE and Pacer have been an integral part of the schedule and have repeatedly inspired participants and visitors.

Since 2009, Theater Bielefeld has been one of the first theaters in Germany to offer audio descriptions for visually impaired and blind visitors. The successor to General Music Director Peter Kuhn , who was responsible for 12 years at the Bielefeld Theater, was Alexander Kalajdzic in 2009, who is still active at the theater today.

Under the title “Zeitsprung - RISK” , a joint play was created for the first time in the 2012/2013 season with the Bethel theater workshop. Dance mediator Kerstin Tölle and chief choreographer Gregor Zöllig also presented the Bielefeld model at the “Children to Olympus!” Congress in June 2013.

In June 2013, the NRW-Theatertreffen took place in Bielefeld for the second time, with the focus on dance for the first time. The festival showed a total of 17 new theater and dance productions from different cities.

The theater today (2014 until now)

In March 2015 the Bielefeld Dance Theater celebrated its tenth anniversary with a "Party with Friends" under the direction of Gregor Zöllig . Zöllig moved to the Braunschweig State Theater in the following season. His successor is the choreographer Simone Sandroni.

In the 2015/16 season, the educational theater work set a record under the name “jungplusX”: For the first time, around 10,000 student tickets were sold. The educational offer includes a. the school partnerships, production-accompanying workshops , various theater clubs or the children's concerts. The children's and youth choir was given a different name under new management: the Junos, an abbreviation of June ge O pern S Änger.

In 2015, the German Federal Cultural Foundation sponsored the interdisciplinary art and research project STOFF , a cooperation between the Bielefeld Theater and the artist collective recherchepool , which includes a two-year international research on the topics of textile production and fashion . By the 2017/18 season, several interdisciplinary theater productions were realized from the material pool. In addition, the Bielefeld Theater was actively involved in the integration of refugees and implemented numerous offers and projects to support them, including a. Free introductions to plays and tickets as well as community theater workshops are offered.

The audience experienced the theater as a place of a lively discussion culture in Ferdinand von Schirach 's first play "Terror".

In the 2016/2017 season, the Bielefeld theater brings new dimensions to the theater with programs such as the FORMATE series or Opera meets Rap: Among other things, the Bielefeld Philharmonic overcame the boundaries between two separate musical genres with the help of various acts from the rap scene .

In addition, the dance education project Zeitsprung of the Bielefeld Theater was continued after 22 projects under the new name PHASE, from 2017 under the title Pacer. The jungplusX team is growing in 2017. Gianni Cuccaro, former dancer at Theater Bielefeld, takes on responsibility for management and marketing. Since 2018, the Rudolf-Oetker-Halle has been the third house to the stages and orchestras of the city of Bielefeld. As the first project of the theater, the long-term reading A German Revolution November 1918 by Alfred Döblin will be staged in the newly designed foyer of the Konzerthaus .

In the 2018/19 season, the acting ensemble of the Bielefeld Theater, along with assistants and prompts, developed the play PReVolution in a grassroots democratic process . In May 2019, an agent for diversity was hired, funded by the 360 ​​° program of the Federal Cultural Foundation, in order to continuously open the house to more cultural diversity.

The administration

As of 2019, the three branches - music theater , dance and drama - as well as the orchestra and the concert hall are under the direction of Michael Heicks (general manager) and Ilona Hannemann (administrative director). The management team includes those responsible for the divisions Nadja Loschky (Artistic Director Music Theater), Simone Sandroni (Artistic Director and Chief Choreographer TANZ Bielefeld), Christian Schlüter (Acting Director) and Alexander Kalajdzic (General Music Director). The change of drama director Christian Schlüter to the Osnabrück Theater means that director Dariusch Yazdkhasti will take over the drama management from the beginning of the 2021/22 season.

The directorship

  • Oskar Lange (1904–1906)
  • Norbert Berstl (1906–1913)
  • Wilhelm Berstl (1913-1914)
  • Max Cahnbley (1914-1933)
  • Leon Geer (1933-1936)
  • Alfred Kruchen (1936–1945)
  • Georg Goll (1945–1946)
  • Hermann Schaffner (1946–1953)
  • Herbert Decker (1953-1958)
  • Joachim Klaiber (1958–1963)
  • Horst Alexander Stelter (1963–1970)
  • Hans-Walter Deppisch (1970–1973)
  • Peter Ebert (1973–1975)
  • Heiner Bruns (1975-1998)
  • Regula Gerber (1998-2005)
  • Michael Heicks (2005 - today)

Venues of the stages and orchestras of the city of Bielefeld

The city theater

Auditorium of the Stadttheater am Niederwall

The Stadttheater (Am Niederwall 27, 33602 Bielefeld), the first theater and orchestra building in the city of Bielefeld, is located in downtown Bielefeld, directly between the old town hall and the Dürkopp building. Thanks to its central location in the heart of Bielefeld, it is right in front of the “Rathaus” city train station and in close proximity to Jahnplatz and Bielefeld's old town.

In 1899, a building on Niederwall became vacant after the municipal hospital had moved. After the city had also acquired the two neighboring buildings, the merger of the theater and town hall was under discussion. In 1900 the city council decided to merge. The city theater and the town hall were to be built right next to each other, with the facades of the houses facing Niederwall. On April 1, 1902, the architect Bernhard Sehring and the town planning officer Ritscher laid the foundation stone for the construction of a town theater. The Bielefelder Theater is an example of the undogmatic historicism of the late 19th century, which is based on the architecture of the Renaissance and can be seen in both the theater and the town hall. However, the town hall dominates over the theater, especially because of the size differences between the buildings. During construction, Sehring attached great importance to clearly separating the audience and the stage from one another. The theater has a wide facade facing Niederwall, which is completely symmetrical and consists of an alternation of natural stone, plaster and glass surfaces. A three-axis porch with a balcony can be seen in the center, which provides the basis for the central projectile and is continued in the three window strips on the upper floors. This is framed by double strips with vertical gables.

The roof has the shape of an arch that runs out almost completely horizontally to the sides. At the apex of the arch, an area is created above the gable windows, where two opposing entablature pieces can be seen, creating a roof for the inscription "Stadt-Theater". A hexagonal roof turret rises at the top . Behind the spectator area extends the so-called stage house, for which Sehring chose forms of medieval architecture . This runs parallel to the theater facade and forms a kind of crossbar made of smooth, multi-storey plastered walls. The facade and the exterior of the city theater have hardly changed since it was built. The porch with balcony was damaged during the Second World War , but it was restored for the 75th anniversary of the city theater.

In contrast, the interior design has changed a lot over the years. Originally one stepped into the vestibule and reached the large, light-flooded foyer on the 1st floor via the side stairs . The interior of the auditorium consisted mostly of white plaster walls with gold decorations. The auditorium consisted of a gently sloping parquet and two tiers. The boxes were on the sides of the room. Sehring mainly worked inside with materials such as stucco, plaster, fabric and leather, using a starry sky as a ceiling as a special element. At the time, the auditorium had a capacity of 933 seats. The first renovation took place in 1937, when the starry sky, the curtain, the seating and especially the technology were changed and brought up to date.

The city theater was refurbished from 2004 to 2006 because of the need to completely renovate the auditorium and the stage. The basic structure of Sehring should nevertheless be retained. The entrance hall is still preserved in the style of the 50s for monument protection reasons. There you will find the box office, a new bar system and the stairs to the 3rd floor. The small venue of the city theater, the loft, can be reached via the entrance hall and is located in the front building of the city theater. There is space for a maximum of 55 spectators. A new bar and new seating options have been created in the large foyer on the 1st floor. At the former transition to the town hall there is a theater lounge for special events with another bar. The auditorium consists of a steeper parquet and only one tier, with a maximum of 725 seats, including 6 wheelchair spaces. The ceiling consists of an open, transparent metal lattice cladding, which creates a neutral space envelope that is intensified by the dark wall cladding. This created an improvement in the acoustics and visual relationships as well as additional scenic lighting options. The orchestra pit has been enlarged and can be used in several different ways.

There were also other renovations that are not visible to the audience, but make everyday theater easier for the employees. Among other things, the construction of a bridge to connect the two buildings in Brunnenstrasse, the restructuring of the workshops and the construction of a dance hall at the rear of the theater, where the new delivery is also located. The renovation created a functional house for the employees and performers, which is still popular with the audience.

The theater on the old market

The Theater am Alten Markt (TAM. Alter Markt 1, 33602 Bielefeld), the second theater and orchestra building in the city of Bielefeld, is located in Bielefeld's old town on the “Alter Markt” square. The TAM and the city theater are in close proximity to each other and are not even 5 minutes away on foot.

Today's venues in the TAM served as Bielefeld town hall until 1904, and the history of the building goes back to the 14th century. Unfortunately, the traditions do not give any precise information about the laying of the foundation stone of the house. During the Second World War , air raids destroyed almost the entire building except for the vaulted cellar. From 1945 it was rebuilt in the modernized style of the 1940s. The Hamburg architects Dipl.-Ing. Won the competition announced by the city and the military government. Nissen and Fischer, who were responsible for the planning, architecture and construction. The cellar vaults with the six coats of arms were preserved and the rest of the building was modernized. With its facade facing the Alter Markt, the Theater am Alten Markt consists of multi-storey plastered walls with stone-framed window fronts. The roof , which is the 2nd floor of the building, consists of red / orange roof tiles. In the free gable, several dormer windows can be seen, which serve to enlarge and illuminate the interior of the room. There are triangular gables on each side of the building . The ground floor is slightly raised and can be reached via two staircases that run towards the center. The entrance extends within a stone cladding that runs vertically to the gable, which is highlighted by a small balcony on the 1st floor. The building has three venues: the Theater am Alten Markt with a maximum number of 306 seats, 4 of which are for wheelchairs. The TAM ZWEI on the 1st floor with a maximum of 55 seats and the TAM DREI on the 2nd floor with a maximum of 60 seats.

The Rudolf-Oetker-Halle

The Rudolf-Oetker-Halle has been the third house of the stages and orchestras in Bielefeld since 2018 and has three event rooms:

  • The "Great Hall", which can be reached via the 1st and 2nd floors of the building and offers a maximum of 1561 seats.
  • The “small hall” on the 1st floor with approx. 300 seats.
  • The “foyer” on the ground floor with approx. 120 seats. Further information on the location and the architecture is available from: Rudolf-Oetker-Halle .

Invitations and awards since 2006

  • 2006/2007: Howl , children and youth theater meeting in North Rhine-Westphalia
  • 2007/2008: Kamikaze Picture , children's and youth theater meeting in North Rhine-Westphalia
  • 2008/2009: Bagdad Brennt , children and youth theater meeting in North Rhine-Westphalia
  • 2009/2010: Little man, what now? 21st National Meeting of Theater Youth Clubs
  • 2010: For ever Art? 4. Undergroundzero festival New York
  • 2010: Clavigo , NRW Theatertreffen
  • 2010/2011: The staging of the Gedächtnisambulanz is included in the ranks of the ten most important productions of 2011 by Nachtkritik at the virtual theater meeting in 2012.
  • 2011 The Miser, NRW Theatertreffen
  • 2011/2012: My Hotel Paradise opens the OPEN STAGE dance festival in Tarnow, Poland.
  • 2011/2012: Käthe Hermann (UA), Mülheimer Theatertage, Deutsches Theater Berlin
  • 2012: Unfun , NRW Theatertreffen
  • 2011/2012: The last golden years , 1st NRW senior theater meeting WILDWest Gelsenkirchen
  • 2012/2013: Herbstzeitlose , dance and theater festival euro-scene
  • 2012/2013: Humility in front of your deeds Baby , Heidelberger Stückemarkt, Radikal Jung Festival Munich; the production wins the audience award in Munich.
  • 2012/2013: Yellow Moon - The Ballad by Leila and Lee , 20th Children's and Youth Theater Meeting Westwind Bonn
  • 2012/2013: Parallel Worlds - Die Insel , Theatertreffen der Jugend Berlin
  • 2013/2014: Die Durstigen wins the audience award at the Westwind children's and youth theater meeting.
  • 2013/2014: Minna von Barnhelm , NRW-Theatertreffen
  • 2013/2014: Tom Traubert's Blues , Nao Performing Festival Milan
  • 2014/2015: The Sorrows of Young Werther and The Neck of the Giraffe , International KING Festival Novgorod
  • 2014/2015: Madama Butterfly (staged by Nadja Loschkys) and Xerxes (staged by Maximilian von Mayenburg) are nominated for the Götz-Friedrich-Stiftung's 2015 Young Director Award.
  • 2015/2015: The theater season booklet of the 2014/2015 season won two Red Dot Awards 2015, namely in the Publishing & Print Media category for the overall concept and graphics of the booklet and for the poster campaign with the motifs from the Playtime booklet, awarded "Best of Best".
  • 2015/2016: The Glorious Six (co-production of the Bielefeld Theater and the Marabu Theater from Bonn) opens the senior theater meeting WILDwest in Gelsenkirchen.
  • 2015/2016: Parallel Worlds - Dishonorable , Theatertreffen der Jugend Berlin
  • 2015/2016: At the award ceremony of the Götz-Friedrich-Stiftung, Madama Butterfly (staged by Nadja Loschky) was awarded the Götz-Friedrich-Director's Prize and Xerxes (staged by Maximilian von Mayenburg) was awarded the special prize of the carpentry Deutsche Oper Berlin.
  • 2015/2016: The season booklet of the 2014/15 season, “Trust”, was awarded the Red Dot Award 2015 in the Publishing & Print Media category for its overall concept and graphics. The Bielefeld Theater also received the Red Dot Award "Best of the Best" for a poster campaign with motifs from the season booklet.
  • 2016/2017: The season booklet of the 2015/16 season "we are many" is awarded the German Design Award 2017.
  • 2016/2017: Dariusch Yazdkhasti's production of Nick Payne's Constellations receives the main award for the best production and the audience award for the director and the two actresses Christina Huckle and Thomas Wehling at the NRW-Theatertreffen.
  • 2017/2018: The musical The Molecule, composed and written by Bielefeld's musical conductor William Ward Murta, is nominated in five categories for the German Musical Theater Prize.

Web links

Commons : Theater Bielefeld  - Collection of pictures, videos and audio files

Individual evidence

  1. ^ Artistic director, acting director, director Michael Heicks - biography. In: theater-bielefeld.de. Retrieved March 30, 2019 .
  2. ↑ 100 years of Bielefeld Theater. Kerber Verlag, 2004, ISBN 3-936646-79-1 , p. 17.
  3. ↑ P. Schütze: 75 Years of Bielefeld City Theater: 1904–1979. Bühnen der Stadt Bielefeld, Bielefeld 1979, p. 34.
  4. ↑ 100 years of Bielefeld Theater. Kerber Verlag, 2004, ISBN 3-936646-79-1 , pp. 18-28.
  5. ↑ P. Schütze: 75 Years of Bielefeld City Theater: 1904–1979. Bühnen der Stadt Bielefeld, Bielefeld 1979, p. 39.
  6. ↑ 100 years of Bielefeld Theater. Kerber Verlag, 2004, ISBN 3-936646-79-1 , p. 31f, p. 34.
  7. ↑ a b c History of the theater in Bielefeld Opern Freund. Accessed on October 23, 2018
  8. ↑ 100 years of Bielefeld Theater. Kerber Verlag, 2004, ISBN 3-936646-79-1 , pp. 40ff.
  9. ↑ P. Schütze: 75 Years of Bielefeld City Theater: 1904–1979. Bühnen der Stadt Bielefeld, Bielefeld 1979, p. 50.
  10. ↑ 100 years of Bielefeld Theater. Kerber Verlag, 2004, ISBN 3-936646-79-1 , p. 50f.
  11. ↑ P. Schütze: 75 Years of Bielefeld City Theater: 1904–1979. Bühnen der Stadt Bielefeld, Bielefeld 1979, p. 55.
  12. ↑ 100 years of Bielefeld Theater. Kerber Verlag, 2004, ISBN 3-936646-79-1 , pp. 60, 65f.
  13. ↑ 100 years of Bielefeld Theater. Kerber Verlag, 2004, ISBN 3-936646-79-1 , p. 86ff, p. 93.
  14. ↑ 100 years of Bielefeld Theater. Kerber Verlag, 2004, ISBN 3-936646-79-1 , p. 101f, p. 106f.
  15. ↑ P. Schütze: 75 Years of Bielefeld City Theater: 1904–1979. Bühnen der Stadt Bielefeld, Bielefeld 1979, p. 104.
  16. ^ H. Wiese: Theater in Bielefeld 1975–1998. Kerber Verlag, Bielefeld 1998, ISBN 3-933040-03-5 .
  17. ↑ 100 years of Bielefeld Theater. Kerber Verlag, 2004, ISBN 3-936646-79-1 .
  18. ↑ 100 years of Bielefeld Theater. Kerber Verlag, 2004, ISBN 3-936646-79-1 , p. 149.
  19. ^ Board of Directors of the Bielefeld Theater Foundation: Our new theater - renovation of the Bielefelder Stadttheater 2004–2006. Bielefeld 2006, p. 11f.
  20. ^ Board of Directors of the Bielefeld Theater Foundation: Our new theater - renovation of the Bielefelder Stadttheater 2004–2006. Bielefeld 2006, p. 13.
  21. ↑ Audio descriptions Theater audio film Accessed on October 30, 2018
  22. ↑ Theater Bielefeld: RISK - Zeitsprung live criticism, accessed on 30 October 2018
  23. ↑ The best plays from NRW at the Theater Bielefeld NRW Theatertreffen 2013. Accessed on October 30, 2018
  24. ^ The fabric fabric magazine project . Retrieved October 30, 2018
  25. ^ "Terror": Much fuss about the question of guilt Neue Westfälische: Monika Kophal Retrieved on October 30, 2018
  26. ↑ Linda Schnepel: “Opera meets Rap”: Two musical genres find a common language. In: nw.de. October 31, 2016, accessed October 21, 2018 .
  27. ↑ a b About us. In: theater-bielefeld.de. Retrieved April 29, 2019 .
  28. ↑ New drama director in Bielefeld: Man with Sensibility , nachtkritik.de of May 7, 2020, accessed May 8, 2020
  29. ↑ G. Renda: Ravensberger Blätter - 100 Years of the Bielefeld City Theater Historical Association, Schlüter printing works, Bielefeld 2004, p. 5f.
  30. ↑ G. Renda: Ravensberger Blätter - 100 Years of the Bielefeld City Theater Historical Association, Schlüter printing works, Bielefeld 2004, p. 9f.
  31. ↑ G. Renda: Ravensberger Blätter - 100 Years of the Bielefeld City Theater Historical Association, Schlüter printing works, Bielefeld 2004.
  32. ^ Board of Directors of the Bielefeld Theater Foundation: Our new theater - renovation of the Bielefelder Stadttheater 2004–2006. Bielefeld 2006, p. 44f.
  33. ^ Board of Directors of the Bielefeld Theater Foundation: Our new theater - renovation of the Bielefelder Stadttheater 2004–2006. Bielefeld 2006, p. 47f.
  34. ^ Board of Directors of the Bielefeld Theater Foundation: Our new theater - renovation of the Bielefelder Stadttheater 2004–2006. Bielefeld 2006, p. 49.
  35. ↑ Theater Am Alten Markt - historic town hall. In: bielefeld.de. Retrieved March 26, 2019 .