Theater oN

Venue of the Theater oN in Kollwitzstrasse, Berlin

The Theater oN is a free theater ensemble with its own venue and repertoire in Berlin .

Founded in 1979/80 under the name “Zinnober”, it was the first free theater in the GDR . In the 1980s, Zinnober developed numerous pieces for children and adults in a self-determined association of freelance actors , puppeteers , authors , directors and musicians . Widespread public attention has included a. Plays like Raiders of the Lost Mind (1982) and especially dreamlike (1985). From 1986 Zinnober toured in West Germany .

After thirty years of grassroots democracy cooperation, the theater decided in 2010 to work with an artistic director and set two priorities for a new start - work in structurally weak districts with little cultural offerings and theater for a very young audience.

In 2013 the staging of hell telling , a theater production about the everyday life of young people in Berlin-Hellersdorf , was awarded an invitation to the Theatertreffen der Jugend . In 2014 the Theater oN received the George Tabori Prize , awarded by the Performing Arts Fund .

"Zinnober" in the GDR and after the reunification

In 1979, in Crimmitschau, Saxony, a number of theater makers came together under the name “Zinnober”, including the former members of the Neubrandenburg puppet theater Gabriele Hänel, Werner Hennrich and Dieter Kraft, as well as the puppeteer duo Therese Herwig and Hans Krüger. In the following year the newly founded theater group moved into the “legendary Zinnober-Laden”, a shop at Knaackstraße 45 in Berlin-Prenzlauer Berg , which Zinnober used until 1995 as a rehearsal and performance space. In the early years, Knaackstraße 45 was primarily a place of retreat for work:

“We have retired to the enclosure here on Kollwitzplatz [...] lowered the blinds and closed the bulkheads. We wanted to make theater, believable, to which we could stand. But also try our kind of alternative life. For this we left the official theater and went into the unknown. "

Zinnober later began to use the shop as a performance space, and the police threatened to vacate it. The group was banned. Only the license to perform as an individual artist was retained by the members of the time, but group appearances were not allowed. Petra Stuber describes the framework conditions from the perspective of the GDR authorities in her "Studies on GDR Theater":

“Until the end of the 1970s, there was neither room nor living conditions for such a group in the GDR. Cinnabar was a foreign body with no connection to existing institutional structures or their laws. As an autonomous group, Zinnober was alien to the system in this sense, without preconditions, asocial and not socially acceptable. [...] The printing of announcement posters for performance dates was excluded, because permission to print to someone who did not officially exist could not be given. No tax office could calculate taxes of a free group, no law even remotely provided for such a case. Every clubhouse manager was right if he did not offer such a group an opportunity to perform, because there were no contractual rules. "

Nonetheless, Zinnober continued to work in the network. The members of the 1980s include the actors and puppeteers Gabriele Hänel, Iduna Hegen, Werner Hennrich, Hans Krüger, Steffen Reck, Uta Schulz, Günther Lindner, Hartmut Mechtel and the dramaturge Dieter Kraft and the set designer Christian Werdin. Performances took place, partly approved, partly illegal, behind closed shutters, in churches and community centers, without public announcements in silence or disguised as folk festivals.

In 1986 Christa Wolf u. a. a performance in front of the members of the Academy of Arts , which ultimately led to the lifting of the performance ban. Even appearances in the FRG became possible from now on.

The social upheaval after the fall of the Berlin Wall brought about the reorganization of the group, some members left the ensemble and new ones joined. During this time, the name was changed to “Theater oN”, although there are several interpretations of the abbreviation, so that the letters are spoken in the oral language.

Venue at Kollwitzstraße 53

The Theater oN has been located at Kollwitzstraße 53 since 1995, a shop and residential building between Senefelderplatz and Kollwitzplatz in Berlin-Prenzlauer Berg . Here the theater rents rooms over two floors. The public rooms include a guest room with bar in the basement of the house and the stage area on the mezzanine floor, accessible via a staircase, with around 60 seats on a grandstand . The stage space is a typical Berlin room , through which one can access the rooms in the rear building. These are used by the theater as a cloakroom, workshop, warehouse and office. The rear exit of the theater leads directly to the Judengang at the rear of the Jewish cemetery .

Working approaches and priorities

Biographical theater

Like the Zinnober group, Theater oN works according to the approach of biographical theater. The personal life story of those involved is therefore the starting point for the development of a production. The reason for this is the conviction that the individual biography can acquire general meaning. The Theater oN thus follows, among other things, the considerations of the philosopher Ralph Waldo Emerson , who is of the opinion that “the deeper a person delves into his most personal and secret premonition, he finds to his astonishment that it is the most recognized, most public and general valid is "

Personal experiences of the actors form a collective experience background on the basis of which scenic material is developed. For example, traumhaft (1985), one of Zinnober's most famous productions, was developed using this method. Collective theater arises here in the summation and potentiation of individualities. The group worked on the play for almost two years. “We knew that the piece had to be related to our biographies. And since the 35th anniversary of the GDR was approaching at that time, since we were all about the same age, there was an exciting parallel to be found. We didn't put any political intentions into it. We only knew that there would be enough political statements in our personal statements. ”The production lasted three and a half hours, in which each of the eight actors had an appearance, composed of fictitious dialogues, clowns, monologues that arose from improvisations. For everyone, something very personal was the focus: childhood, family. A choir formed the framework for the player, who literally worked their way through the middle. The choir followed the action coolly and indifferently, with curious distance. dreamlike feeds from the self-understanding of the group against the background of the social context of the time. The play was temporarily banned in the GDR, but was performed in many large cities. The far-reaching response from the audience can be traced back to the “authenticity of the subjective”, which enables the audience to identify with what is happening on stage. The critics celebrated the production as a “predatory-sensitive literary work of art”, which offers the opportunity to “become acquainted with art forms that seemed almost lost” Zinnober is taking the medium of theater seriously again in its origins, writes the taz . It is played, but not on boards that “mean” the world. In contrast to the declaratory, philistine, intellectual theater in which the characters blow speeches over the ramp, this art makes the leap over the orchestra pit because it does not want to show life, but rather is vital itself. Theater is remembered here as the need from which it once emerged.

Following the tradition of dreamlike , the Theater oN developed a new production in 2015 under the direction of Ania Michaelis with the title Wachträume - Ein Panoptikum , funded by the Performing Arts Fund. The current ensemble of actors, which includes three former Zinnober players, together with a number of guests, re-examined the relationship between the individual and society, using biographical material as the starting point for the development of a play.

Wachträume - A Panoptikum premiered on September 17, 2015 and attracted attention from regional and national media. Gunnar Decker wrote in Theater der Zeit : “The world of waking dreams is as very personal as it is general. You enter them with open eyes, but something fantastic comes into the picture, something that gives the word seeing a new meaning. They are visions [...] with both a positive and a negative sign. All the goals and purposes of the story as well as the individual biography no longer apply here. It is a highly poetic swan song from the very beginning, to those usability in the world of clear intentions whose dreamlessness robs us of sleep. "

Theater in structurally weak districts

The Theater oN has been working in so-called structurally weak Berlin districts with little cultural offerings since 2010 , especially in the Marzahn-Hellersdorf district . The work with children and young people on site is also based on the method of biographical theater. Based on the individual life stories, plays emerge that do not follow any literary model, but are developed from improvisations and the participants' own texts and songs.

The theater work with young people from Hellersdorf , which the Theater oN has carried out since 2010 with funding from the Schering Foundation , has attracted public attention . So far, this has resulted in three own productions, including hell narrating , which was invited to the 2013 Theatertreffen der Jugend . “It's raw, direct, dreamy [...] There are five girls and four boys between the ages of eleven and 15 on stage who talk about their lives. Of conflicts, longings, blows. And from their neighborhood. They come from Hellersdorf, the district with a bad reputation on the outskirts of Berlin, where the marginalized are located and the social problems are not just statistics. Every third mother is a single parent, every fifth resident is unemployed, the alcoholic rate is high, child poverty is blatant. "

Theater for very young audiences

Since the new beginning in 2010, the Theater oN has devoted itself increasingly to the »theater for the youngest«. With »Kokon«, the director Ania Michaelis presented the first production for viewers aged two and over. In Germany, the form of theater is comparatively young compared to other European countries. As part of the model project »Theater from the Beginning! Networking, models, methods: impulses for the field of early childhood aesthetic education «at the Children's and Youth Theater Center in the Federal Republic of Germany , theater work with very young children was tested in five German cities from 2006 to 2009 and the first productions for very young viewers were created.

With its theater offerings for very young audiences, Theater oN is aimed at children from two years of age, families, individuals and daycare groups. The aim is to create a public space for a shared art experience. In the meantime, in addition to “Kokon”, other productions for a very young audience have been created: including “Kling, kleine Ding *”, a musical performance by the Dresden musician and director Bernd Sikora (2011), and “White Laundry” by the Swiss director Taki Papaconstantinou (2012) , »A little story | a small story "(2013), a coproduction with starcatchers Edinburgh and" flies & falls "(2015) by guest choreographer Florian Bilbao, the first dance production of the Theater oN for viewers from 2 years. These productions can be seen in the Theater oN as well as nationally and internationally in guest performances.

For the testing of the genre "Theater for very young audiences", the Theater oN was the first children and youth theater to receive three-year conceptual funding from the Performing Arts Fund and, in 2014, the George Tabori Award for its contribution to the further development of the form of theater nationwide and internationally.

FRATZ International Festival and Symposium

In 2013, the Theater oN organized a festival for the first time that showed international theater productions for viewers aged two and over in Berlin. As part of "FRATZ - International Theater Festival for Very Young Audiences", four international and four German productions were shown in different parts of Berlin. The main sponsors of the festival were the Capital Cultural Fund and the Berlin Project Fund for Cultural Education . The accompanying symposium "Between Art and Socioculture - What can and will theater do in structurally weak districts?" Brought together the international theater scene in this theater segment for an exchange on cultural-political and aesthetic issues. Cooperation partners for the FRATZ Symposium were the GRIPS Theater and the Children's and Youth Theater Center in the Federal Republic of Germany (KJTZ) .

The second edition of the FRATZ Festival took place in 2015. From April 18-22, seven productions from different countries, including Australia, Russia, France and Belgium, were on view. For this purpose, temporary venues were set up in six Berlin districts. The Berlin Project Fund for Cultural Education and the German Youth Brand Foundation sponsored FRATZ in 2015. Parallel to the festival, another conference for trade visitors took place, this time on the subject of "The small child as a counterpart: the relationship between the image of man and the understanding of art". The symposium was funded by the Federal Government Commissioner for Culture and the Media .

The third edition of FRATZ took place from March 10th to 15th, 2017. A special focus for this issue was on "Music theater for very young audiences". For the accompanying symposium, the Theater oN entered into a cooperation with the Deutsche Oper Berlin .

In 2019 the Theater oN hosted the fourth edition of the FRATZ Festival (May 3 to 8, 2019). The FRATZ symposium was entitled "Another World" and examined the role of theater and art in relation to current socio-political issues such as climate change, decolonization and education.

The fifth FRATZ International has been announced for April 24-29, 2020 - with a focus on contemporary dance . A symposium deals with internationality and diversity in dance for young audiences and takes place in cooperation with the offensive dance for young audiences , a funding project of the federal government and the Berlin Senate for Culture and Europe in the program TANZPAKT Stadt-Land-Bund .

Productions

cinnabar

• 1980: Little Red Riding Hood after Joachim Ringelnatz , game: Hans Krüger
• 1981: As the old man does it, it's always right, according to Hans Christian Andersen , play: Gabriele Hänel and Hans Krüger, director: Steffen Reck, set design: Christian Werdin, Steffen Reck, Gabriele Hänel
• 1982: The hunters of the lost mind according to Hartmut Mechtel, play: Gabriele Hänel and Hans Krüger, director: Steffen Reck, dramaturgy: Dieter Kraft, set: Christian Werdin
• 1982: Einszweidreivierfünfsechsieben after FCWaechter, play: Iduna Hegen, Therese Herwig / Uta Schulz and Günther Lindner, director: Gabriele Hänel, set: Christian Werdin, Gabriele Hänel, Zinnober
• 1983: Why Miss Phoebe Schwanenglitz fell from the sky , play: Hans Krüger / Werner Hennrich, Günther Lindner, text: Gabriele Hänel, director: Werner Hennrich, set: Christian Werdin
• 1983: Station Pillgram by Gabriele Hänel, direction / set / film: Steffen Reck, Dieter Kraft, audience podium: Christian Werdin, Sven Olaf Svenson
• 1984: Neue Rose , play: Hans Krüger, Iduna Hegen, Werner Hennrich, Gabriele Hänel, Günther Lindner, Dieter Kraft, Steffen Reck
• 1985: dreamlike , playing: Iduna Hegen - angel (black and white), Gabriele Hänel - gray stocking violin, Uta Schulz - the singing voice, Werner Hennrich - tuba asher, Hans Krüger - hans, Dieter Kraft - stuhlmann or the accordion, Günther Lindner - stepper alias saxophone, Steffen Reck - the idiot with the old bike.
• 1986: The Moscow bed after Anton Chekhov , play: Werner Hennrich and Ulrich Zieger, director: Gabriele Hänel, Zinnober
• 1986: Die Bremer Stadtmusikanten , play: Iduna Hegen, Uta Schulz / Werner Hennrich, Günther Lindner, director: Gabriele Hänel, stage: Christian Werdin, characters: Zinnober, dramaturgy: Dieter Kraft, current repertoire
• 1987: Street stories , participation in an event of the concert and guest performance management in the KKH "Prater"
• 1987: The Messiah by Patrick Barlow, play: Gabriele Hänel, Werner Hennrich, Steffen Reck and Jazzquintett live (KC Kaufmann), directors: Hans Krüger, Ulrich Zieger
• 1989: Sponsai - remembering. A Midsummer Night's Dream , play: Iduna Hegen, Uta Schulz, Werner Hennrich, Dieter Kraft, Günther Lindner, stage: Christian Werdin, dramaturgy: Dieter Kraft, director: Kollektiv

Theater oN - 1990s

• 1990: Die Wichtelmänner , play: Regina Menzel, director: Werner Hennrich, set: Christian Werdin
• 1991: Little Klaus and big Klaus , game / equipment: Günther Lindner; Director: Werner Hennrich; current repertoire
• 1993: The story of the fat woman , play / text: Ania Michaelis, director: Steffen Kaiser
• 1994: The Star of the Coyote I , game: Gabriele Hänel, Iduna Hegen, Uta Schulz; Direction / equipment: collective
• 1995: The Star of the Coyote II , game: Iduna Hegen, Uta Schulz; Direction / equipment: collective
• 1996: Reineke Fuchs , text version: Hartmut Mechtel; Direction / text arrangement: Gabriele Hänel; Play: Melanie Florschütz, Werner Hennrich, Günther Lindner, Hartmut Mechtel, Ania Michaelis, Uta Schulz; Music: Jürgen Kurz
• 1996: The three little pigs and the wolf , game: Günther Lindner; Set design: Werner Hennrich, Günther Lindner; Director: Werner Hennrich; current repertoire
• 1996: Cinderella , game / equipment: Melanie Florschütz, Gabriele Hänel; Music: Michael Döhnert; Text: Gabriele Hänel; Director: collective
• 1997: In the 13th epoch of general enthusiasm - miniatures , pieces by Paul Scheerbart (1863–1915); Play: ensemble; Director: Gabriele Hänel; Music: Jürgen Kurz; Set design: Gabriele Hänel and collective
• 1997: Beauty and the Beast , game: Melanie Florschütz; Music: Michael Döhnert; Director: collective
• 1997: Die Regentrude , play: Melanie Florschütz, Ulricke Monecke; Equipment: collective; Director: Gabriele Hänel
• 1998: The fairy tale of Tsar Saltan, of his son, the famous and powerful warrior Prince Gwidon Saltanowitsch, and of the beautiful swan princess , game: Uta Schulz; Directors: Werner Hennrich, Ania Michaelis; Equipment: collective; current repertoire
• 1998: The Millennium Bug or The Fixation of the Fleeting , play: Gudrun Bär, Werner Hennrich, Uwe Steinbach, Moritz Sostmann; Music: Michael Döhnert; Dramaturgy: Gamma Bak; Video installation / text / idea / direction: Aram Radomski
• 1998: Stone tablets - Holy Emma , game: changing line-ups; Translation / Head: Gabriele Hänel
• 1998–2000: Project Stein , play: Michael Döhnert, Melanie Florschütz, Moritz Günther, Trixi Günther, Birgit Hägele, Gabriele Hänel, Werner Hennrich, Marlen Melzow, Ulrike Mierau, Ulrike Monecke, Gottfried Roeszler, direction: Gabriele Hänel
• 1999: The adventure , play: Uta Schulz, artistic collaboration: Suse Weisse, Werner Hennrich
• 1999: The purple sail , game: Melanie Florschütz, concept / scenography: Michael Döhnert, Melanie Florschütz
• 1999: The little Häwelmann after Theodor Storm , game / idea / scenography: Iduna Hegen, composition: Anna Katharina Kaufmann, artistic assistance: Thomas Neumann, Suse Weisse
• 1999: Der kleine Muck , play: Ania Michaelis, director: Friederike Krahl, Hartmut Mechtel, doll: Christian Werdin
• 1999: The princess on the tree , game: Michael Döhnert, Melanie Florschütz, artistic assistance: Gabriele Hänel, Marlen Melzow
• 1999: Mare Crisium , play: Hartmut Mechtel, Ania Michaelis, director: Steffen Kaiser

Theater oN from 2000

Pieces for children

• 2000: Go there, don't know where - get me this, I don't know what The stubborn child , game: Günther Lindner, Uta Schulz, director: Werner Hennrich, set: Günther Lindner
• 2001: Puss in Boots , play: Uta Schulz, Günther Lindner, directors: Marlen Melzow, Zoe Svendsen, puppets: Günther Lindner, Marlen Melzow, current repertoire
• 2001: King Lindwurm , play: Ania Michaelis, director: Gottfried Roeszler
• 2001: The stubborn child , play: Iduna Hegen, director / stage: Gottfried Roeszler
• 2002: The return of the Bankivahühner , game: Birgit Hägele, Ulrike Mierau, artistic assistance: Gunther Bnung, Gabriele Hänel, Beate Rademacher
• 2002: Jumping Mouse , game: Ulrike Monecke, artistic collaboration: Gabriele Hänel, Suse Weisse
• 2002: Princess Unfug , game / idea: Ania Michaelis, director: Gottfried Roeszler
• 2003: Hase Hase Mond Hase Nacht , game / concept: Michael Döhnert, Melanie Florschütz, director: Andrea Kilian
• 2003: Kasper and the dragon , game / set: Günther Lindner, director: Gottfried Roeszler
• 2006: Rawums (:) , play: Michael Döhnert, Melanie Florschütz, artistic assistance: Werner Hennrich
• 2007: Hansel and Gretel , play: Ulrike Mierau, Sibille Roth, director: Luris Thorau
• 2007: Rabbit and Hedgehog , play: Werner Hennrich, Günther Lindner, director: Iduna Hegen
• 2007: O Himmel blau , play: Ania Michaelis, director: Barbara Kölling, coproduction with Helios Theater Hamm
• 2008: Spiegel, the kitten based on Gottfried Keller , play: Iduna Hegen, Uta Schulz, director: Gabriele Hänel, coproduction with the Schaubude Berlin
• 2010: The Devil's Treasure , game: 1st to 3rd grade pupils at the Schleipfuhl primary school in Berlin-Hellersdorf, game management: Iduna Hegen, Werner Hennrich
• 2010: Kokon , play: Minouche Petrusch, Karlo Hackenberger, director: Ania Michaelis
• 2010: HerzMonster , play: Iduna Hegen, director: Werner Hennrich
• 2011: Stone soup , play and direction: Uta Griseldis Lindner
• 2010/2011: The golden goose , game: pupils of class 4b of the elementary school at Kollwitzplatz Berlin-Pankow, game management: Günther Lindner, Uta Giseldis Lindner, Sybilla Zaumseil
• 2011: Kling, kleine Ding * , play, percussion and singing: Iduna Hegen, Uta Griseldis Lindner, Andreas Pichler, director: Bernd Sikora
• 2011: Hänschen Klein , play: Günther Lindner, director: Albrecht Hirche
• 2012: White laundry , play: Minouche Petrusch, Günther Lindner, Silke Lange (accordion), director: Taki Papaconstantinou
• 2012: Frau Holle , play: Iduna Hegen, Andreas Pichler, director: Gabriele Hänel
• 2013: a little story | a small story , creation and play: Andy Manley, Ania Michaelis, coproduction with Starcatchers Edinburgh
• 2013: Ma Aisa brasa mi , play: Iduna Hegen, director: Jule Kracht, coproduction with the Junge Theater Münster
• 2015: The little bull in love , play: Iduna Hegen, Günther Lindner, Uta Griseldis Lindner, director: Gabriele Hänel
• 2016: Little piece of heaven , director: Ania Michaelis, composition: Nuria Hierro Nuñez, commissioned by the Deutsche Oper Berlin and the Theater o. N. in coproduction with the Wuppertaler Bühnen
• 2016: Die Wichtelmänner , play: Uta Griseldis Lindner, director: Werner Hennrich
• 2017: Affinity , play: Iduna Hegen, Uta Griseldis Lindner, Andreas Pichler, director: Alfredo Zinola
• 2017: Klangquadrat , development & play: Florian Bergmann (clarinet), Benedikt Bindewald (viola), Minouche Petrusch
• 2017: Schnürchen , development & performance: Akiko Ahrendt, Neo Hülcker, Günther Lindner
• 2018: The twelve months , play: Iduna Hegen, Uta Griseldis Lindner, text & direction: Katharina Kummer
• 2019: Future Beats , play: Nasheeka Nedsreal, Andreas Pichler, Bernd Sikora, director, music: Bernd Sikora
• 2019: YEW: kids , concept and choreography: Jared Gradinger and Angela Schubot, sound design: Stefan Rusconi
• 2019: How can I stand in a world that is tilting? , Director: Cindy Ehrlichmann, Iduna Hegen, Music: Doreen Kutzke, Steffen Petzold

Pieces for adults

• 2000: Love's Labor's Lost according to William Shakespeare , play: Michael Döhnert, Riki Eden, Melanie Florschütz, Trixi Günther, Birgit Hägele, Gabriel Hänel, Iduna Hegen, Werner Hennrich, Laszlo Klapcsik, Günther Lindner, Hartmut Mechtel, Marlen Melzow, Ulrike Mierau, Ulrike Monecke, Beate Rademacher, Gottfried Roeszler, director: Gabriele Hänel
• 2000/2002: Open the door, Richard , game: Iduna Hegen, Günther Lindner, Uta Schulz, Paul Sonderegger / Stefan Hellmann / Justus Carriere, Gottfried Roeszler, artistic collaboration: Werner Hennrich
• 2001: The mussel meal, play: Gerd Beyer, Karin Oehme, Susanne Rögner, direction / concept: Maya Fanke, Ania Michaelis
• 2001: Fugue of the platform , game: Melanie Florschütz, Gabriele Hänel, Werner Hennrich, artistic assistance: Kraut Hills, Gabriele Hänel, Michael Döhnert, Marlen Melzow
• 2003: In the Brief der Zeit , play: Melanie Florschütz, Werner Hennrich, director: Gabriele Hänel
• 2003: Invalidenbahn Ernst Brot , play: Werner Hennrich, directors: Werner Hennrich and Gabriele Hänel
• 2003: Manekine , play: Iduna Hegen, Günther Lindner, Ania Michaelis, Ulrike Monecke, Uta Schulz, director: Gottfried Roeszler
• 2004: Painted over blue , play: Ania Michaelis, director: Gottfried Roeszler
• 2004: The Unknown Brother Grimm , play: Matthias Bernhold, Patricia Christmann, Stephan Korves, Ulrike Monecke, Minouche Petrusch, Uta Schulz, idea / direction: Ania Michaelis
• 2004: Handstand on the Lorelei , game / idea: Uta Schulz, artistic collaboration: Werner Hennrich
• 2005: Allet Mütze , play: Iduna Hegen, Günther Lindner, director: Gabriele Hänel
• 2006: Nothing but the truth , game: Werner Hennrich, Iduna Hegen, Günther Lindner, Ulrike Mierau, Steffen Reck / Gottfried Roeszler, Uta Schulz, director: Gabriele Hänel
• 2007: Marley was dead , game / text: Uta Schulz, artistic collaboration: Werner Hennrich
• 2011: Gertrud, Gudrun and I , play: Uta Griseldis Lindner, artistic collaboration: Wera Herzberg
• 2011: Grenzdorf , play: Wera Herzberg, Werner Hennrich, director: Gabriele Hänel, coproduction with the Schaubude Berlin
• 2012: Von Rittern, Rosen and Roger Moore , game: Uta Griseldis Lindner, artistic collaboration: Dagmar Domrös
• 2013: Pirates! Pirates! , Concept and game: Albrecht Hirche, Günther Lindner, Sophia Martineck, Henning Wagenbreth
• 2013: Heaven is on fire , concept and narration: Marianne Fritz, Uta Griseldis Lindner, coproduction with Atelier M., Magdeburg
• 2015: Wachträume - Ein Panoptikum , director: Ania Michaelis

literature

• TRAUM-HAFT , Henning Rischbieter in Theater heute , issue 12/1986
• The Oderberger / Street stories , Frank Starke in Die Weltbühne, issue 36 from September 8, 1987
• Fantastic: Theater Zinnober, improvisations, games, minutes , publication of a collection of texts in the Aufbau Verlag 1991, (Ed .: Gerhard Wolf)
• Boheme and dictatorship in the GDR. Groups Conflicts Quarters 1970 - 1989 , Paul Kaiser, Claudia Petzold; Catalog for the exhibition of the German Historical Museum from September 4 to December 16, 1997, Berlin, ISBN 3-927574-39-2
• Henning Rischbieter (Ed.): Through the iron curtain. Theater in divided Germany from 1945 to 1990 . in cooperation with the Akademie der Künste . Propylaen Verlag, Berlin 1999, ISBN 3-549-05744-X , p. 257-258 .

Movies

• traum haft (1986), film for the theater production of the same name, director: Zinnober / Werner Buhs, camera: Wolfgang Lindig, first broadcast on SWF on January 10, 1989
• The Gordian Knot , (last) DEFA documentary about the members of the “theater ZINNOBER”, director: Jochen Krauser, camera: Sebastian Richter, 1991, link to Jochen Krauser

Web links

Commons : Theater oN  - collection of pictures, videos and audio files

• Official website of the theater oN 
• Christel Hoffmann: laudation for the theater oN on the occasion of the award of the george tabori award. in the house of the Berliner Festspiele. Fonds Darstellende Künste , May 22, 2014, archived from the original on April 2, 2015 . 
• FRATZ International. Theater oN(FRATZ - International Festival for Very Young Audiences). 

Individual evidence

1. ^ ^{A b} Petra Stuber: Spaces and Limits: Studies on GDR Theater . Ch. Links Verlag, Berlin 1998, ISBN 3-86153-171-2 , p. 245 .
2. ↑ ^{a b} Tabori Prize awarded. In: bundesregierung.de. May 22, 2014, archived from the original on September 23, 2015 ; accessed on March 1, 2015 . 
3. ↑ The Hunters of Lost Time. An exhibition by the German Historical Museum in Berlin, September 4, 1997 to December 16, 1997. In: boheme and dictatorship in the gdr - groups, conflicts, qutiere. 1970 to 1989. Deutsches Historisches Museum (Berlin), accessed on January 20, 2020 (catalog text for the exhibition). 
4. ↑ Tagesspiegel from January 28, 1996
5. ^ Günther Lindner in conversation with Claudia Petzold and Paul Kaiser, Berlin, August 7, 1995 and February 20, 1997 .; quoted based on the catalog text of the German Historical Museum for the exhibition “Bohéme and Dictatorship in the GDR”, 1997
6. ↑ Ralph Waldo Emerson : The American Scholar , speech to the Phi Beta Kappa Society in Cambridge, Massachusetts on August 31, 1837
7. ↑ Martin Linzer: dreamlike - Zinnober group. In: Theater of Time, 1986.
8. ↑ ^{a b} Günther Lindner in an interview with Tagesspiegel , 1996.
9. ↑ ^{a b} Tilo Köhler: “Theater is alternative - or not one. For many years 'Zinnober' was the only free theater group in the GDR. ”, Taz on June 21, 1990.
10. ^ Project funding from the Performing Arts Fund in 2014. Archived from the original on April 2, 2015 ; accessed on September 22, 2014 . 
11. ↑ Gunnar Decker: Der Tautropfen Welt , In: Theater der Zeit , 11/2015, pp. 53–54.
12. ↑ ^{a b} George Tabori Prize. (PDF) For the awarding of the theater prize on May 22, 2014 in the Haus der Berliner Festspiele. In: Der Tagesspiegel. May 8, 2014, pp. B1-B4 , archived from the original on April 2, 2015 ; accessed on March 1, 2015 (special supplement to the Tagesspiegel). 
13. ↑ Patrick Wildermann: Subtly anti-social. In: Der Tagesspiegel . January 22, 2013, accessed September 22, 2014 . 
14. ^ Online archive of the Theatertreffen der Jugend , accessed on September 22, 2014
15. ↑ Gabi dan Droste (ed.): Theater from the beginning! Education, Art and Early Childhood (2009), transcript Verlag, Bielefeld, ISBN 978-3-8376-1180-9
16. ^ Contents of the symposium. In: FRATZ International 2015 - Encounters Symposium Festival for very young viewers. Theater oN, archived from the original on April 2, 2015 ; accessed on March 28, 2015 . 
17. ↑ FRATZ International 2017. Theater oN, accessed on March 20, 2016 . 
18. ↑ FRATZ International 2019. Theater oN, accessed on December 31, 2019 . 
19. ↑ FRATZ International - Next edition: April 24-29, 2020 in Berlin. Theater oN, accessed January 18, 2020 . 
20. ^ Symposium - Internationality and Diversity in Dance for Young Audiences. In: Offensive dance for young audiences. OfTa Offensive Tanz Berlin, accessed on January 18, 2020 .