<a href="${link:{uuid:{d31fce8d-f964-4520-a8ce-a2a51c34e489},repository:{website},path:{/bfs-de/theatertreffen/das-festival/ueber-die-10-inszenierungen}}}">The ten most remarkable productions</a> from the last season were selected by a <a href="${link:{uuid:{8f7b2981-da7a-44cc-a784-8c78a1c3bcfa},repository:{website},path:{/bfs-de/theatertreffen/das-festival/ueber-die-10-inszenierungen/jurys/jury-2026}}}">jury of critics</a> to provide a condensed insight into the German-language theatre landscape.Tickets may occasionally become available even when events are marked as sold out. It is therefore worth checking in the <a href="https://tickets.kbb.eu/kbb.webshop/webticket/shop?production=938&amp;language=en" target="_blank" rel="noopener noreferrer">webshop</a> at regular intervals. Any remaining tickets will also be available at the evening box office.

Highlights Musikfest Berlin 2023

Musikfest Berlin

Musikfest Berlin 2023

Theatertreffen

<a href="${link:{uuid:{d31fce8d-f964-4520-a8ce-a2a51c34e489},repository:{website},path:{/bfs-de/theatertreffen/das-festival/ueber-die-10-inszenierungen}}}">The ten most remarkable productions</a> from the last season were selected by a <a href="${link:{uuid:{1c495102-7d10-43fc-b87c-f22293697438},repository:{website},path:{/bfs-de/theatertreffen/das-festival/ueber-die-10-inszenierungen/jurys/jury-2025}}}">jury of critics</a> to provide a condensed insight into the German-language theatre landscape.

Die 10 bemerkenswertesten Inszenierungen 2025

The 10 Productions

36 productions were proposed and discussed for nomination for the 2026 Theatertreffen by the jury members.

The 2026 Shortlisted Productions

Between 17&nbsp;January and 31&nbsp;December 2025, the Theatertreffen-jury viewed a total of 739 productions from Germany, Austria and Switzerland.&nbsp;

Statistics

based on the novel of a career by Klaus MannDirection: Jette Steckel Premiere: 28.2.2025 M&uuml;nchner Kammerspiele <a href="https://www.muenchner-kammerspiele.de/en/programm/32919-mephisto" target="_blank" rel="noopener noreferrer">muenchner-kammerspiele.de</a><h4>Jury Statement</h4>“Jette Steckel and her team have succeeded in creating an evening that shapes Klaus Mann’s novel Mephisto plus a few lines added from other sources into a trenchant and topical study of the relationship between art and power. Thomas Schmauser offers a virtuoso portrayal of Hendrik H&ouml;fgen’s transformation from the pioneer of a ‘revolutionary theatre’ to an opportunistic Nazi favourite motivated by a mixture of artistic vanity and some residual ideas about resistance. He carefully explores the character from the inside, showing him to be flawed, argumentative and/or acting being argumentative. That Steckel shows even this evening’s domestic scenes as a play within a play is entirely consistent. This is a portrait of a human type to whom art means the world, one committed to the illusion that the theatre is a refuge that will ultimately remain inviolate. No way! Watching this superb ensemble at work, we see people whom the New Right would be only too happy to exclude from the stage. This alignment between the historical past and the potential future really hurts.” – Sabine Leucht for the Theatertreffen-jury<a href="https://mediathek.berlinerfestspiele.de/en/theatertreffen/2026/statement-mephisto" target="_blank" rel="noopener noreferrer">To the video statement</a> (in German)

Mephisto

A slaughter feast in seven courses

adapted from Friedrich SchillerDirection: Jan-Christoph Gockel Premiere: 4.10.2025 M&uuml;nchner Kammerspiele <a href="https://www.muenchner-kammerspiele.de/en/programm/42815-wallenstein" target="_blank" rel="noopener noreferrer">muenchner-kammerspiele.de</a><h4>Jury Statement</h4>“A dual portrait of the mechanics of war and an exuberant celebration of the theatre: this Wallenstein accomplishes both these and much more. Jan-Christoph Gockel and his team of individualists take seven hours over it. But the fact that these don’t drag is due to the multitude of perspectives presented on the material, which sometimes grate but always argue wonderfully with each other. The piece is about armies of mercenaries past and present, about military puppet masters who are hanging precariously by a thread themselves, about loyalty and the difficulty of ending wars. Central to the visual worlds and humour of the evening are Schiller’s famous line ‘war nourishes war’, the figure of the Russian mercenary leader Yevgeny Prigozhin and the Harry Potter spell ‘riddikulus’, which transforms frightening creatures into something comic and dispels the paralysis of fear. In this immersive masterpiece, however, with elements of investigative and literary theatre, performance, live acting and puppetry, subtle irony, satire and seriousness, everything remains in motion. Even hope for the human being within the soldier.” – Sabine Leucht for the Theatertreffen-jury<a href="https://mediathek.berlinerfestspiele.de/en/theatertreffen/2026/statement-wallenstein" target="_blank" rel="noopener noreferrer">To the video statement</a> (in German)

Wallenstein

by Giuseppe Tomasi di Lampedusa Translation by Burkhart Kroeber Adapted for the stage by Pınar Karabulut and Hannah Sch&uuml;nemannDirection: Pınar Karabulut Premiere: 29.11.2025 Schauspielhaus Z&uuml;rich <a href="https://www.schauspielhaus.ch/en/kalender/34866/il-gattopardo">schauspielhaus.ch</a><h4>Jury Statement</h4>“Evenings of theatre like Pınar Karabulut’s adaptation of Giuseppe Tomasi di Lampedusa’s Il Gattopardo (The Leopard) have become rare. Together with stage designer Michela Fl&uuml;ck and costume designer Sara Valentina Giancare, Karabulut brings aristocratic Sicily in the era of the Risorgimento back to life in a magical way. The opulence of the rooms and costumes and the almost seamless psychological playing of the ensemble draw the audience deep into the 19th century, where they can lose themselves in the beauty of this world in decline and in the melancholy noblesse of Prince Don Fabrizio played by Markus Scheumann. At the same time, they can also recognise symptoms of our own changing times. Karabulut sticks closely to Lampedusa’s novel and by doing so keeps our own crisis-torn reality in view. Scheumann’s concluding monologue is not only a dying man’s moving assessment of his life. It is also a warning not to be like Don Fabrizio and to fight for what exists.” – Sascha Westphal for the Theatertreffen-jury<a href="https://mediathek.berlinerfestspiele.de/en/theatertreffen/2026/statement-il-gattopardo" target="_blank" rel="noopener noreferrer">To the video statement</a> (in German)

Il Gattopardo

based on the novel Sérotonine by Michel Houellebecq German translation by Stephan Kleiner Adapted for the stage by Sebastian HartmannDirection and stage design: Sebastian Hartmann Premiere: 13.12.2025 Hans Otto Theater, Potsdam <a href="https://www.hansottotheater.de/spielplan/premieren/serotonin_2025_26/" target="_blank" rel="noopener noreferrer">hansottotheater.de</a><h4>Jury Statement</h4>“Sebastian Hartmann has never presented such a radically reduced and purist production. His stage adaptation of Michel Houellebecq’s novel Sérotonine is a masterpiece of theatrical minimalism: it needs no more than a white box containing just a white wooden bench, a single spotlight and, of course, Guido Lambrecht. Lambrecht spends a good five hours lingering in this space whose whiteness seems to expunge anything else, laying before us the messed-up life of Houellebecq’s first person narrator Florent-Claude Labrouste. This merciless account of a failed man is repeatedly interrupted by a second, intra-German life story, that broadens and comments on Labrouste’s toxic view of the world. Meanwhile Lambrecht’s acting, as reticent as it is precise, is a minor theatrical sensation. It allows us to see inside one man’s gaping chasms and find the core of the anti-modern thinking so virulent right now.” – Sascha Westphal for the Theatertreffen-jury<a href="https://mediathek.berlinerfestspiele.de/en/theatertreffen/2026/statement-serotonin" target="_blank" rel="noopener noreferrer">To the video statement</a> (in German)

Serotonin

by Thomas MelleDirection: Lucia Bihler Premiere: 27.9.2025 Schauspiel Stuttgart <a href="https://www.schauspiel-stuttgart.de/en/whats-on/a-z/die-welt-im-ruecken/" target="_blank" rel="noopener noreferrer">schauspiel-stuttgart.de</a><h4>Jury Statement</h4>“The entire stage here mutates into a psycho-physical space; from Paula Wellmann’s breathing and at times blushing pink curtains to the driving sounds of Sixtus Preiss, everything contributes to making Thomas Melle’s text full of pain and humour visible and tangible. At the heart of this Gesamtkunstwerk is the wonderful Paulina Alpen. In Victoria Behr’s red body armour – and at times against it – she acts out both the weight felt in periods of depression and the thunderous hail of neurons in manic phases. And none of this is overdone. She even makes losing it a matter of elegance. Six Alpen lookalikes represent Melle’s ‘hybrid agents’: satellites like echoes of her own self that also reflect the reactions of the majority society to inadequate behaviour. The evening has the pop aesthetic familiar from Lucia Bihler, but is never reliant on effects, instead it is deeply humane and takes its audience on a rollercoaster of emotions.” – Sabine Leucht for the Theatertreffen-jury<a href="https://mediathek.berlinerfestspiele.de/en/theatertreffen/2026/statement-die-welt-im-ruecken" target="_blank" rel="noopener noreferrer">To the video statement</a> (in German)

Die Welt im R&uuml;cken

freely adapted from Arthur Schnitzler&nbsp; by Leonie B&ouml;hm and Julia RiedlerDirection: Leonie B&ouml;hm Premiere: 8.2.2025 Volkstheater Wien <a href="https://www.volkstheater.at/produktion/2165830/fraeulein-else/2550659/" target="_blank" rel="noopener noreferrer">volkstheater.at</a><h4>Jury Statement</h4>“Almost every line of Leonie B&ouml;hm and Julia Riedler’s Schnitzler adaptation is from 1924. However, the text lands firmly in the present thanks to the exceptional performance of Julia Riedler as Else. She turns the stream of consciousness of an eighteen-year-old who is blackmailed into undressing in front of a family friend to raise money to cover her father’s debts into a lively dialogue with the audience. In doing so, Riedler gives those watching a clear share of responsibility, making them accomplices in Else’s inescapable situation. With an incredibly quick wit and a twinkling nonchalance she holds the auditorium in the palm of her hand – and takes pleasure in winding her audience around her little finger. Her Else is wide awake, fearless and unpredictable. As a result, this evening based on Schnitzler’s construct progressively dreams of a utopia for our time, where the abuse of power is still omnipresent. A radically contemporary solo and an exercise in empathy at the same time.” – Vincent Koch for the Theatertreffen-jury<a href="https://mediathek.berlinerfestspiele.de/en/theatertreffen/2026/statement-fraeulein-else" target="_blank" rel="noopener noreferrer">To the video statement</a> (in German)

Fr&auml;ulein Else

by Julian HetzelConcept and direction: Julian Hetzel World premiere: 17.5.2025 (Wiener Festwochen | Free Republic of Vienna) A production by Studio Julian Hetzel in co-production with Wiener Festwochen | Free Republic of Vienna and Schauspiel Leipzig, with support of De Balie (Amsterdam), SPRING Performing Arts Festival (Utrecht) and CAMPO Gent (Belgium) <a href="https://julian-hetzel.com/" target="_blank" rel="noopener noreferrer">julian-hetzel.com</a> | festwochen.at | <a href="https://www.schauspiel-leipzig.de/en/program/archive/d/drei-mal-links-ist-rechts/" target="_blank" rel="noopener noreferrer">schauspiel-leipzig.de</a><h4>Jury Statement</h4>“Julian Hetzel has devised an unconventional and stunning chamber play inspired by the relationship between a left-wing cultural scholar and a new right thinker from Vienna. How do they manage to live together when their views of the world are diametrically opposed? Kristien de Proost and Josse De Pauw play a couple for whom political conflicts have invaded their personal lives. With microscopic precision Hetzel zooms in on the internal aspects of their relationship, where conversations in the playground unsettle the certainties of an established institution. In a minimalist setting the pair deliver a heated battle over who has the better ideology – exemplifying how society is divided. Why are the left’s thought patterns so swiftly hijacked by the right? With disconcerting humour Hetzel constructs idiosyncratic images for the heated climate of debate and for radicalisation – until even the subtitles take on a life of their own. One watches the performance with sweaty palms and leaves this cleverly conceived and stimulating evening absolutely shattered. A masterpiece of provocation.” – Vincent Koch for the Theatertreffen-jury<a href="https://mediathek.berlinerfestspiele.de/en/theatertreffen/2026/statement-three-times-left-is-right" target="_blank" rel="noopener noreferrer">To the video statement</a> (in German)

Three Times Left is Right

A memory play by Tennessee WilliamsDirection: Jaz Woodcock-Stewart Premiere: 30.1.2025 Theater Basel <a href="https://www.theater-basel.ch/en/dieglasmenagerie">theater-basel.ch</a><h4>Jury Statement</h4>“A soft spot for a narrative-based aesthetic is considered typical for the UK. Jaz Woodcock-Stewart is one of the young British directors who are skilled storytellers but don’t simply retell the story. She gives Tennessee Williams’ Die Glasmenagerie (The Glass Menagerie) at Theater Basel a very contemporary drive without breaking up the text – which is set in the late 1930s. Contemporary powerplates, vibrating plates from the gym, don’t exactly encourage muscle development here – on the contrary, they are ironically inverted to be congenial symbols that all the structures offering any support are being undermined. The three main characters get lost between the bare concrete walls. A staircase leads into nothingness, and a ramp down to a reduced life, with no money and no contact with the outside world. The queer daughter escapes into a kind of hikikomori existence. For one visitor to the family a (house) facade will briefly be tipped over the hollow life of the unlucky trio; it won’t do any good. A quiet, strongly symbolic and moving work!” – Alexandra Kedves for the Theatertreffen-jury<a href="https://mediathek.berlinerfestspiele.de/en/theatertreffen/2026/statement-die-glasmenagerie" target="_blank" rel="noopener noreferrer">To the video statement</a> (in German)

Die Glasmenagerie

by Florentina HolzingerDirection, choreography and performance: Florentina Holzinger Premiere: 21.5.2025 (Volksb&uuml;hne am Rosa-Luxemburg-Platz) A production by Volksb&uuml;hne am Rosa-Luxemburg-Platz (Berlin), Florentina Holzinger/Spirit and neon lobster in co-production with Tanzquartier Wien, International Summer Festival Kampnagel, Dansenhus Stockholm, DE SINGEL, Maska Ljubljana, asphalt Festival, Rising Melbourne, Factory International Manchester, Divine Comedy International Theater Festival / Łaźnia Nowa Theater (Kraków) and Marvaða Iceland Funded by the Capital Cultural Fund (HKF) and the City of Vienna Department of Cultural Affairs <a href="https://www.volksbuehne.berlin/en/repertoire/a-year-without-summer">volksbuehne.berlin</a><h4>Jury Statement</h4>“What does one do in a ‘year without summer’, when the world is darkened by volcanic eruptions and plunging temperatures? When this happened in 1816, the 18-year-old writer Mary Shelley thought up the monster Frankenstein. Florentina Holzinger conflates all these events and together with her performers, who this time include a crew of actors some of whom are in their Eighties, embarks on a wild and exceptionally lucid ride through homo sapiens’ history of optimisation. In spectacular and highly complex scenes she presents the planet’s status quo alongside the story of how the human body deteriorates and – while the robot dogs are already preparing to attack – questions the curse and promise of eternal life. Defying the darkness, all this takes place in the form of a musical that is overflowing with ideas and visuals, and which ends in the most literal fake faecal orgy in theatre history. How an absolutely kitsch-free utopia emerges here within the most unsparing truth imaginable is something that has never been seen like this in the theatre before.” – Christine Wahl for the Theatertreffen-jury<a href="https://mediathek.berlinerfestspiele.de/en/theatertreffen/2026/statement-a-year-without-summer" target="_blank" rel="noopener noreferrer">To the video statement</a> (in German)

A Year without Summer

A German fairy tale by Carl ZuckmayerDirection and stage design: Sebastian Hartmann Premiere: 20.9.2025 Staatstheater Cottbus <a href="https://www.staatstheater-cottbus.de/de/programm/repertoire/artikel-der-hauptmann-von-koepenick.html" target="_blank" rel="noopener noreferrer">staatstheater-cottbus.de</a><h4>Jury Statement</h4>“What can be done with a 95-year-old ‘German fairy tale’ in which a cunning cobbler marches into K&ouml;penick town hall wearing a junk shop uniform? And which seems to have been considered a superior TV comedy ever since the 1956 film version with Heinz R&uuml;hmann, though people are fond of forgetting that its underlying subject – the soldier inside everyone – is not remotely funny? Sebastian Hartmann and his splendid ensemble have a brilliant idea: they conceal neither the depths nor the comic aspects of the material – albeit without reproducing the comedy in its stricter sense. Hartmann has copied the facade of Cottbus’s theatre on stage. This bears an inscription ‘Der deutschen Kunst’ – to German art – and what happens now is a marionette theatre of (not only) German mental history in which a gifted theatrical team with a talent for (self-)irony probe Carl Zuckmayer’s play for its contemporary relevance. On the surface it looks as if the crew had casually enriched a backstage comedy with discursive material. But in fact, it gets deep down inside the nature and presence of the soldier – including in the theatre.” – Christine Wahl for the Theatertreffen-jury<a href="https://mediathek.berlinerfestspiele.de/en/theatertreffen/2026/statement-der-hauptmann-von-koepenick" target="_blank" rel="noopener noreferrer">To the video statement</a> (in German)

Der Hauptmann von K&ouml;penick

Past Events

Die 10 bemerkenswertesten Inszenierungen 2026

The 10 Most Remarkable Productions 2026

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Reflexe und Reflexionen

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Every year, the Theatertreffen brings the 10 most remarkable productions from German-speaking countries and works by up-and-coming artists from around the world to Berlin.

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Highlights of the 2026 Theatertreffen

Theatertreffen 2026

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Installations

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The 2025 Open Call

This Open Call for the International Forum is addressed at artists at the beginning of their artistic practice who have already gathered some initial professional experience. They may be from all sectors of the performing arts, especially from the fields of directing, acting, set and costume design, dramaturgy, text production, music, video, performance, media, choreography, production management and theatre education.Around 35 artists from around the world will be invited to come to Berlin, to watch theatre together, to talk, to (re-)consider, to experiment and to make connections. The fellows will have the opportunity to attend the festival, to take part in intensive workshops with international artists, to reflect together the productions invited to Theatertreffen and theatre in general and to exchange ideas.Deadline for applications: 5 December 2024 (23:59, CET)

International Forum

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Open Call 2026

This Open Call for the International Forum is addressed at theatre makers at the beginning of their artistic careers who have already gathered some initial professional experience. They may be from all sectors of the performing arts, especially from the fields of directing, acting, set and costume design, dramaturgy, text production, music, video, performance, choreography and theatre education.Around 30 artists from around the world will be invited to come to Berlin, to watch theatre together, to talk, to (re-)consider, to experiment and to make connections. The fellows will have the opportunity to attend the festival, to take part in intensive workshops with international artists, to reflect together the productions invited to Theatertreffen and theatre in general and to exchange ideas.Deadline for applications: 30 November 2025 (23:59, CET)

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On 13 January, the Theatertreffen’s jury of critics announced their selection of the 10 most remarkable productions for the 2026 Theatertreffen at a press conference. Our congratulations go to the nominated production teams and all participants!

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The Theatertreffen invites 34 emerging theatre makers from all parts of the world to attend and reflect the festival and to exchange ideas and experiences across artistic and national boundaries. We are very much looking forward to welcoming all participants and thank everyone for their applications! More than 800 artists from 90 countries responded to the Open Call published in the autumn of 2026.

The 2026 International Forum Participants

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Theatertreffen 2025: Impressionen

Theatertreffen 2025: Impressions

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Impressions

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Each year, the 10 most remarkable productions are selected by a jury of critics from up to 600&nbsp;shows within the German-language region and the viewing period.

The 10 Productions

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On the occasion of the 60th anniversary of the International Forum, a special framing programme will exclusively present alumni of the International Forum.

Forum Theatertreffen 1965–2025

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The International Forum is an initial impetus for collaboration, the search for diverse local perspectives on global issues, and a free space for developing artistic ideas together.

International Forum

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Aspiring arts journalists with a keen interest in the theatre&nbsp;will attend and critically reflect the Theatertreffen with the support of experienced mentors.

Theatertreffen-Blog

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Short impulse key notes by alumni of the International Forum will be followed by conversations between participants from the respective production and the audience about decisions regarding content and aesthetics.

Audience Talks

At a Glance

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by Martin Thomas Pesl

In his essay on the theatre year 2024, Theatertreffen-juror Martin Thomas Pesl looks to the past and to the future – and finds legacy issues, multiple identities, AI and even a spark of hope.

Black is the New Black

Key Visual Theatertreffen 2026

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Drama and Discourse, Mehr Drama!, Discussions, Awards

The 10 Most Remarkable Productions

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The full programme and tickets for all events of Musikfest Berlin are now available. In 2026, the festival also marks the 75th anniversary of the Berliner Festspiele and brings together leading international orchestras, renowned conductors and outstanding soloists in a diverse concert programme – ranging from opera productions to contemporary works, from Gy&ouml;rgy Ligeti’s grotesque humorous anti-opera Le Grand Macabre to George Gershwin’s Porgy and Bess.

Musikfest Berlin

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One of the most influential performance artists of all time, Marina Abramović presents Balkan Erotic Epic. The Exhibition at Gropius Bau in spring 2026. The show traces her ongoing engagement with ritual, eroticism, death and the body as a site of political resistance. Drawing on the folklore of Abramović’s native Balkans, the exhibition weaves together filmic and sculptural installations with live performance.

Marina Abramović: Balkan Erotic Epic. The Exhibition

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The exploration of myths and rituals shapes the fourth edition of the Performing Arts Season with works by Marina Abramović, Mario Banushi, Marie Chouinard, Anne Teresa De Keersmaeker / Rosas, Ictus, Bl!ndman, Dumb Type, Damien Jalet / Kohei Nawa and Gisèle Vienne. The programme will be published on 18 June, and advance ticket sales will start.

Performing Arts Season

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In 2026 the Berliner Festspiele celebrate their 75th anniversary. A selection of events programmed throughout the entire year engage take the anniversary as their theme or mark the occasion with works at the Haus der Berliner Festspiele, the Gropius Bau, the Philharmonie Berlin, on Berlin’s Ringbahn and at other locations in the city.&nbsp;

75 Years of the Berliner Festspiele

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Each year, the Theatertreffen brings the 10 most remarkable productions from the German-language region as well as the works of emerging artists to Berlin.