Following AUGENBLICK MAL! 2025, we would like to publish a list of children's and youth theatres in Berlin here.
After all, young Berlin audiences don't just get their money's worth at the AUGENBLICK MAL! partner theatres. Several dozen children's and youth theatres form a fresh and progressive scene that we would like to present in more detail: How many theatres are there? What anecdotes are told about them? And what are these theatres known for far beyond Berlin's borders?
We would be delighted if you could write to o.becht@augenblickmal.de during the festival to tell us which theatres you know and what stories you associate with them!
This year's festival will once again be accompanied by an awareness team. We want everyone at AUGENBLICK MAL! to feel comfortable, safe and respected. The awareness team is there to help anyone who needs support and ensures that no one has to deal with boundary violations or discrimination alone.
The awareness information can be found at the festival centre Theater Strahl. You can recognise the members of the awareness team by their lanyards with red name tags and pink vests.
The team introduces itself on the following awareness flyer, which will be available in print at the festival venues:
You can read more about our Code of Conduct and further background information on accessibility and awareness work at the festival HERE.
We look forward to a wonderful festival with you!
A theatre festival for children and young people needs the participation of children and young people. That's why this year's edition of AUGENBLICK MAL! will feature not only the children of the BLICK'S MAL group, but also the youth group AUGENtagMAL! Over the past few months, the 15- to 24-year-olds interested in theatre have been able to gain insights into almost all areas of the festival's planning.
As part of the European cooperation project ForesTEEN, AUGENtagMAL! is one of a total of seven ‘Theatre Action Groups’. Each ‘TAG’ is based in one of seven EU countries. ‘The idea behind the project is for young people across Germany and Europe to network, develop participation processes and play a concrete role in shaping the AUGENBLICK MAL! 2025 and 2027,’ explains AUGENtagMAL! coordinator Kris Grün. Together with Valerie Eichmann, she is supporting the 16 teenagers and young adults currently involved in the German “TAG”. It was an obvious decision to rename the group “AUGENtagMAL!” at a face-to-face meeting: ’After all, planning the festival is our main focus.’
In addition to the German group, ‘Theatre Action Groups’ were also set up in Denmark, France, Lithuania, Spain, Italy and Serbia at the beginning of 2024. Interested parties were sought in advance through a call for applications. ‘I heard about the project at a theatre network meeting,’ says 17-year-old Lisa from Dresden. ‘Through the group, I've met lots of cool people all over Germany. It's great to be able to accompany a process like the planning of AUGENBLICK MAL! from the very beginning!’
What is important to Kris, their contact person, is that the basic idea behind ForesTEEN goes beyond ‘just’ supporting the complex organisation of a major event. The international groups meet online once a month to exchange ideas and organise joint trips to European partner festivals. As a result, young people from Spain, France, Lithuania, Italy and Denmark will be present at AUGENBLICK MAL! 2025.
‘I'm involved because I want young people to have more say. Theatre should change and evolve,’ says Kira (21), a freelance educator and artist. Kira has particularly fond memories of the group's first face-to-face meeting. ’It quickly became clear that this was a cool, colourful bunch.’ As a rule, the AUGENtagMAL! meetings also take place online. ‘That's a big challenge,’ emphasises Kris. ‘The European dimension adds to the complexity of communication and organisation behind the scenes.’
In preparation for AUGENBLICK MAL! 2025, AUGENtagMAL! members are invited to participate in three working groups. In direct exchange with the production and concept team, a youthful perspective is thus brought to various areas of planning. ‘A lot of the group can be seen in the final festival programme,’ Kris concludes positively. ‘Among other things, the young people are actively involved in the opening and the discussion programme.’
The young people themselves are also satisfied. ‘Everyone is making a great effort to involve us as much as possible,’ says 18-year-old Irem from Augsburg, who found out about AUGENtagMAL! through her theatre teacher. Lars (22), an event technician from Frankfurt, worked in the ‘Parties & Encounters’ working group, which was responsible for planning the festival opening and the festival party, among other things. ‘The atmosphere was very appreciative, and we were always listened to,’ says Lars. Specifically, Lisa adds, three AUGENtagMAL! members will moderate the opening. Their request for live music was also granted.
The ‘Awareness’ working group was responsible for designing the awareness information point and a relaxation room, explains Anna (23), a student from Leipzig. ‘We also checked the guest performances for triggers and helped with the selection interviews for the awareness team. The collaboration was completely equal from the very beginning.’ When designing the information stand, it was important to her that interaction and education took place. ‘We want to discuss with AUGENBLICK MAL! visitors what awareness actually means.’
There are several opportunities to get to know the AUGENtagMAL! group at the festival. The young people are designing several parts of the discussion programme rede+zeit and offering, among other things, a pub quiz, an international breakfast, meditation and a workshop on young forms of participation in theatres. In the festival centre Theater an der Parkaue, they will also be present together with the BLICK´s MAL! group in an interactive chill-out and participation corner.
It is not currently possible to join the group, says Kris Grün. After the festival, they will consider how to proceed and will probably publish a new call for applications in the autumn. Anyone interested can contact Kris (k.gruen@augenblickmal.de).
Early bird tickets for trade visitors to AUGENBLICK MAL! 2025 go on sale on 10 February (all information HERE). If you want to experience the festival in a particularly intense way, you should take a look at our ‘festival trails’: Coherent combinations of productions, dialogue formats and celebrations that are coordinated in terms of time and content.
Tickets for the components of the festival trails must be purchased individually. All information on ticketing can be found HERE.
FESTIVAL PATH 1: All guest performances
Tue, May 6, 2025
14:00 - 14:50: O (the shOw)
16:00 - 19:30: Festival opening
19:30 - 21:30: PEER GYNT
Wednesday, May 7, 2025
16:00 - 17:00: Talking about Silence
19:00 - 20:30: Wolf
Thursday, May 8, 2025
17:00 - 18:00: TROJA - Blinde Passagiere im Trojanischen Pferd
Friday, May 9, 2025
14:00 - 14:50: Der Katze ist es ganz egal
19:30 - 20:30: Follow me!
Saturday, May 10, 2025
17:00 - 18:15: Faust - eine Tragödie
19:30 - 21:00: ASSITEJ/Vera Gerdau Award Ceremony
Sun., May 11, 2025
10:00 - 11:00: SPLASH!
15:00 - 18:00: Festival-Derniere
Festival path 2: The ‘weekend carefree package’
Friday, May 9, 2025
11:00 - 12:10: TROJA - Blinde Passagiere im Trojanischen Pferd
19:30 - 20:30: Follow me!
Saturday, May 10, 2025
10:30 - 11:20: Der Katze ist es ganz egal
17:00 - 18:15: Faust - eine Tragödie
19:30 - 21:00: ASSITEJ/Vera Gerdau Award Ceremony
Sun., May 11, 2025
14:00 - 15:00: SPLASH!
15:00 - 18:00: Festival-Derniere
Festival path 3: The ‘discourse club + 10’
Tue, May 6, 2025
14:00 - 14:50: O (the shOw)
16:00 - 19:30: Festival opening
20:00 - 21:30: Wolf
Wednesday, May 7, 2025
10:00 - 12:00: PEER GYNT
16:00 - 17:00: Talking about Silence
18:00 - 21:00: rede+zeit (Theater Strahl)
Thursday, May 8, 2025
10:00 - 14:00: rede+zeit (Theatre an der Parkaue)
17:00 - 18:10: TROJA - Blinde Passagiere im Trojanischen Pferd
Friday, May 9, 2025
9:00 - 13:00: rede+zeit (Theatre an der Parkaue)
16:30 - 17:45: Faust - eine Tragödie
19:30 - 20:30: Follow me!
Saturday, May 10, 2025
10:30 - 11:20: Der Katze ist es ganz egal
15:00 - 16:00: SPLASH!
19:30 - 21:00: ASSITEJ/Vera Gerdau award ceremony
Sun., May 11, 2025
10:00 - 13:00: rede+zeit (Theatre an der Parkaue)
15:00 - 18:00: Festival-Derniere
Cordial invitation: AUGENBLICK MAL!, the biennial festival of theater for young audiences, will take place in Berlin from May 6 to 11, 2025. Five outstanding productions each for children and youth will be presented, framed by numerous discourse and discussion formats. Many of the events will be held with English translation.
The Early Bird Ticket sale for delegates and professional visitors from abroad begins on February 10, 2025 at 10 a.m. Two weeks later on February 24, 2025 (10 a.m.) the general sales start. Anyone wishing to take advantage of the Early Bird Ticket sale must obtain accreditation in advance via our ticketing site.
Special festival trails provide inspiration as to which performances can be attended during a 6-day- or weekend-visit.
AUGENBLICK MAL! is the biggest festival of Theater for Young Audiences (TYA) in Germany and is hosted by Kinder- und Jugendtheaterzentrum in der Bundesrepublik Deutschland. ASSITEJ Germany is its legal entity.
We would be delighted to welcome as many international guests as possible to Berlin!
The four-member selection committee has chosen five plays for children and five for young people from 233 production proposals submitted. In May, these ten guest performances will become the centerpiece of AUGENBLICK MAL! 2025.
After dozens of hours of viewing, on-site visits, pre-selection and controversial discussion, the following productions were chosen:
CHILDREN'S THEATER
Der allerbeste Familienstreit. Ein Familien-Forschungsfest (6+)
Die AZUBIS (Hamburg); direction: Kai Fischer and Christopher Weiß
Der Katze ist es ganz egal (9+)
Theater Münster; author: Franz Orghandl; direction: Carina Sophie Eberle
O (die shOw) (6+)
FELD Zentrale für junge Performance e.V., Berlin
Direction: Jan Kress, Julia Keren Turbahn and Jan Rozman
SPLASH! (6+)
Theater Marabu (Bonn) in co-production with Beethovenfest Bonn and Ruhrfestspiele Recklinghausen; direction: Tina Jücker and Claus Overkamp
TROJA – Blinde Passagiere im trojanischen Pferd (10+)
theaterkohlenpott (Bochum);
Author: Henner Kallmeyer; direction: Frank Hörner
Faust – eine Tragödie (15+)
stellwerk weimar e.V., Weimar
Freely adapted from Johann Wolfgang von Goethe; direction: Till Wiebel and ensemble
Follow me! (12+)
tanzmainz / Staatstheater Mainz; choreography: Felix Berner
PEER GYNT (14+)
Staatsschauspiel Dresden, Bürger:Bühne, Dresden
After Henrik Ibsen, in a version by Joanna Praml and Dorle Trachternach;
direction: Joanna Praml
Talking about silence (14+)
HELIOS Theater (Hamm) in cooperation with Ishyo Arts Centre (IAC), Kigali (Ruanda)
Author: Steffen Moor; direction: Carole Karemera and Barbara Kölling
Wolf (11+)
Thalia Theater GmbH, Hamburg
Author: Saša Stanišić; direction: Camilla Ferra
“We were looking for diverse and innovative theater that inspires young audiences”, explain the curators. “With us, you can expect magical and surprising experiences that delve into socially relevant topics, pursue experimental and interactive approaches and/or open up new perspectives. The empowerment and co-design of young people is always particularly important to us.”
Young people also helped with the selection process itself, the curators continue: “This year, we were delighted to receive exceptional support from the BLICK´S MAL kids. During their school vacations, they looked at all 18 children's plays on the longlist and then told us in detail about their impressions. This children's perspective is often underrepresented in decision-making processes. This made their assessment all the more valuable for us. Their feedback triggered numerous discussions, which helped us all the more to put together this unique program!”
In terms of content, the final selection covers a wide range of different topics: From war and the conflict within the family and circle of friends, to language and communication, as well as the importance of social media. The audience can expect a wide variety of forms with the large stage, small studio performance, dance, spoken theater and also an interactive production that breaks with the separation of stage and auditorium. In the words of the curators: “We invite you to a festival where we will break the silence and discover new worlds. We will take responsibility and perhaps even trust a wolf. In imaginative stories and adventures, we will explore words and forms, overcome prejudices and negotiate peace. We will laugh, argue and maybe even cause a bit of chaos. We take things into our own hands, make gods wait and free ourselves from everything that doesn't make us happy. And when it rains? Then we get out the umbrellas and just get on with it!”
In the coming months, we will present the individual productions - including assessments by our curators - in detail on this website.
Gerd Taube, festival director and head of the Children's and Youth Theater Centre in Frankfurt am Main, is impressed by the large number of productions submitted for AUGENBLICK MAL! 2025: “The children's and youth theater scene has benefited greatly from the financial opportunities that have been made available to artists during the pandemic. It would be a devastating signal to cut this funding in the future, because in the current political situation, the educational work of theaters is more important than ever before, as it enables young audiences to participate in culture and engage with current issues, thus strengthening our democracy.”
We congratulate the participants of all selected productions and look forward to our time together from May 6-11, 2025 at AUGENBLICK MAL! THE THEATRE FOR YOUNG PUBLIC FESTIVAL in Berlin!
Some of you were able to admire them at our festival opening: Graphic recording artist Johanna Benz, together with the animation team Sara Bock and Sandra Barth, expressed their own artistic perspective on the ten invited productions in short and fine films. Enjoy!
Childrens Theater
Julia Keren Turbahn + Jan Rozman, Berlin
Cooperation partner: FELD Theater Berlin, Emanat Ljubljana, Puppentheater Ljubljana
DINGE DINGEN
Author: Julia Keren Turbahn, Jan Rozman
vorschlag:hammer, Duisburg
Cooperation partner: KOM'MA Theater Duisburg, Ballhaus Ost Berlin
Frederick die Maus
Author: after Leo Leonni; Director: vorschlag:hammer
Theater o.N., Berlin
Cooperation partner: Produced by Offensive Tanz für junges Publikum Berlin
HARVEST
Author: Ensemble; Director: Isabelle Schad
Theater Marabu, Bonn
Master of Desaster
Author: Ensemble; Director: Ensemble
pulk fiktion, Köln
Cooperation partner: FFT Düsseldorf, Freies Werkstatt Theater Köln, Theater M. a. Ruhr and LOT Braunschweig
Robin und die Hoods
Author: Ensemble; Director: Marcus Thomas
Youth theater
TANZKOMPLIZEN - Produktions- und Spielstätte, Berlin
Cooperation partner: Eine Produktion von TANZKOMPLIZEN im Rahmen der Offensive Tanz
A HUMAN RACE - the rite of Krump
Author: Grichka Caruge; Director: Grichka Caruge & Ensemble
Junges Schauspiel D'haus, Düsseldorf
Bambi & Die Themen
Author und director: Bonn Park
PINSKER+BERNHARDT, Offenbach
Cooperation partner: Künstler*innenhaus Mousonturm, Junges Nationaltheater Mannheim
Body Boom Boom Brain
Author und director: PINSKER+BERNHARDT (Janna Pinsker and Wicki Bernhardt)
Piccolo Theater Cottbus, Cottbus
Die Verdunkelung II - Coronaleuchten
Author: The Youth Ensemble; Director: Matthias Heine
Theater an der Ruhr, Mülheim an der Ruhr
Cooperation partner: FFT Düsseldorf
Lyriks ... von Unendlichkeit umarmt
Author und director: subbotnik
All the information on titles, authors, participants and cooperation partners listed here is based on the data on the productions submitted by the theatres in the proposal process.
Congratulations to all ensembles and participants!
We would like to thank our board of trustees Antigone Akgün, Malte Ketel Andritter, Dr Dorothea Lübbe, Elena Philipp and Winfried Tobias and the advisory "Representation for Young Perspectives" for reviewing well over 200 submissions!
We are very much looking forward to showing these productions from 21 - 26 April 2023 in the houses of our cooperation partners ATZE Musiktheater, GRIPS Theater, Theater an der Parkaue - Junges Staatstheater Berlin and Theater Strahl Berlin!
Originally, we were just an outraged youth editorial team.
After our outcry about AUGENBLICK MAL! 2021 led to our integration into the festival structures at the request of the conceptual team and the management, we also first had to figure out who we wanted to be within these structures. Are we the ones who annoy, the ones who co-curate, the ones who make their own program? We represent young perspectives in the AUGENBLICK MAL! Festival and see ourselves as the voice of the youth in the discussions in and around the festival. This also means: we have to go against a lot of what has happened and been decided so far, because we are bound to an activist claim. We are aware that we have limited perspectives and that we are relatively homogeneous as a group. We want to make the festival as accessible as possible for everyone, and in doing so we rely on a discourse at eye level and an open discussion. It is particularly important to us that children's and youth theater is not made and discussed exclusively by adult theater professionals, but that children and young people must be established in the scene as experts in their own right. We want to question the existing structures in children's and youth theater and change the way theater is made, watched and talked about.
Self-Interview
What would be an ideal festival for you in 2023? What would it have to feel like? What should remain after it ends?
Lena: An open space without borders! The feeling that you can take part in every conversation and be noticed and recognized. And at the end, an even greater enthusiasm for theater than before.
Nicole: A safespace and meeting place for theater connoisseurs and theater newcomers. A place to feel good. And in the end, joy and memories of great plays and people should remain ?
Jana: A festival where we find out together what it can mean to actually talk to each other about theater at eye level and we try to find answers to what the task of children's and youth theater is in these times.
Mariella: A festival for everyone. For the professional audience and for children and young people. A safe place without exclusion. At the end, our heads should be full of great memories, so that we look forward to the new festival even more.
Thalia: A place where children and young people can come into contact with theater and art free of charge and without thresholds. In spaces that are made for children and young people (open doors, door handles and seats adapted to children's sizes) and in which the attention span of children and young people is planned for (sliding around/climbing around is not disturbing, calling in is okay, going out is okay). In which the way children and youth perceive the world and what needs they have of it is not an afterthought and they can feel seen, understood and actively valued in ways they don't experience in their normal everyday lives.
Florian: Excitement, variety, creativity, daring, but also controversial. Especially the exchange, on different levels, between the different groups of visitors, should be the special feeling of theater festivals.
When you're in the viewing process for AM! what are you looking for?
Lena: For the experiences I would have liked to have had when I went to the theater with my school. For plays that maybe not only proven Theatre Kids can pull something from.
Nicole: I'm looking for something that really speaks to kids and teens, and doesn't just cater to Gen Z stereotypes.
Mariella: For me, one of the most important things is that I don't get bored and have fun watching. It's also important to me that children and young people are shown authentically on stage and that you don't reproduce clichés about young people.
Thalia: I am always looking to see myself or my inner child on stage. I want our stories to be told. If someone tries to explain something to me, I switch off.
Florian: I'm not looking for "0815 - plays" that use the typical (proven) stylistic devices of the theater, but surprising and new, which remains in memory. In my invention, plays that I can't remember the next morning are unsuitable for a theater festival. Likewise, I have a special emphasis on the sustainability of a play, so I look for that feeling of talking about it with friends. And the whole evening, and next day must think, then this play did everything right.
What was your best AM! Moment? / Best moment in the work at the Representation for Young Perspectives?
Lena: Our live meetings in Marburg and Bremen! They were always interesting, insightful and above all a lot of fun!
Nicole: The moment when the Representation for Young Perspectives was "founded" - I would never have dreamed of being part of something so great!
Jana: The people! It's always so rewarding, especially with my fellow representatives, to talk about what's on our minds and what our ideas are to make it better and then start implementing that.
Mariella: The moment when I saw everyone live for the first time and they all looked like I imagined them. I also love it when I feel that our opinions are being heard, that just makes me happy!
Thalia: Every time I feel that criticism leads to actual change. It doesn't happen regularly, but it has happened and it gives me hope for the future of AUGENBLICK MAL!
That in a festival for young audiences, the younger audience can also have a say and actively participate and make a difference.
How did you perceive your position/work in the last festival 2021?
Lena: It was great to get to know the festival. But we probably wouldn't be as sweet and "hand-tame" as we were then ? today.
Nicole: Working in the last festival was super fun and eye-opening for me regarding structures in the theater that you don't see as an audience member.
Jana: It seemed like a huge honor to be there in a writing position at the time. Now we are facing the next festival and demand real participation from us young people and children, instead of nice articles.
Mariella: I thought it was great to get to know the festival like this. I think we were still very reserved and I think we are not anymore.
Thalia: For me at that time it felt like tokenism to suggest participation without actually taking children and young people seriously and empowering them in the festival. For me, this was shown through the curatorship and the invited plays, the festival times, the way the eye-catchers were talked about and how the contributions were shown, and through how children and young people were dealt with in the discussion formats. Surprisingly, we were able to talk about it and I was allowed to write about it. That was a very important step for me on the part of the festival.
What was the reason for you to found the Representation for young perspectives?
Lena: The feeling of not understanding and not being understood!
Nicole: The desire for equal rights.
Jana: The lack of understanding that adults decide what should be relevant for me.
Mariella: When I'm sitting in a post-performance meeting and I feel like everything here is about adults and their next job at the theater.
Thalia: After bitterness, a feeling of curiosity as to whether we can and may really do better.
What makes theater special for you?
Lena: The encounters. The energy. Being bound to the moment.
Nicole: Especially being live and interacting with the audience, but also the power to entertain and move.
Jana: The moment in which stories can become reality for a brief moment, which theater always creates through its images and words.
Mariella: I love listening to people and seeing myself just let go and feel the energy of other people.
Thalia: 6 weeks of intense teamwork, for a live moment. I rarely feel more intensely connected to what living together means.
Florian: The last festival was a journey, an imaginative journey, with great people and the great experience of writing about the plays and being able to express your opinion, and now the next adventure begins; as a representative for young perspectives.
by Annett Israel
What a season 2020/21! Many theaters had to remain closed for a long time due to the pandemic. Nevertheless, pre-production took place. In many places, plays were performed digitally or open air. Indoor "premieres" without young audiences were the rule. Then, toward the end of the season, came redemption. Finally, the theaters were allowed to invite young people back into their rooms and halls, even if the number of visitors was significantly reduced. Depending on the size of the auditoriums, one, two or even three school classes were lost in them. With the start of the 2021/2022 season, the pressure of premieres and few play dates followed. Countless performances had to be hastily rescheduled due to illness and quarantine regulations, or cancelled altogether due to audience cancellations. A difficult situation that accompanied most of the theaters throughout the season and also heavily influenced the viewing process of the five curators Antigone Akgün, Malte Andritter, Dorothea Lübbe, Elena Philipp and Winfried Tobias. Some planned viewing trips had to be cancelled at short notice, proposed productions could only be experienced by individual curators or not at all on site together with an audience. Thus, in their discussions, they often relied on the impressions that resulted from viewing the videos submitted by the theaters, independent groups, collectives, and solo artists.
The curators were accompanied in their viewing process, which began in January 2022, by five young people who had emerged from the Hingucker*innen editorial group - all of them young people who had critically accompanied the 2021 festival, which had been moved to digital spaces at short notice, by writing. In their texts, they had clearly criticized the lack of young perspectives on the selection of guest productions and in the discussions. The AUGENBLICK MAL! conception team invited all Hingucker*innen to contribute their perspectives to the viewing process and the conception of the framework program of the upcoming festival. Nicole Etschberger, Florian Hecht, Jana Oehlerking, Mariella Pierza, Lena Riemer and Thalia Schöller accepted the invitation and from then on called themselves a group representing young perspectives. In a shared experimental space with the five curators - who had all embarked on the adventure - they negotiated possible forms of youth participation. During the viewing period, they repeatedly met with the curators and represented their views, impressions, attitudes, desires in digital conversation spaces, during joint video-watch parties, or in Marburg and Bremen, where they attended festival performances with the curators and shared their viewing experiences. On walks, in small groups or in large groups, criteria for discussing performances were exchanged and discussed as well as individual ideas for a successful festival of theater for young audiences.
More than 200 valid proposals submitted by theaters, independent groups, collectives and solo artists were reviewed several times by the five curators. With 50 production proposals, the curators went into the discussion about the longlist on September 15. At the end of the day, 30 productions were nominated for the final selection discussion about the ten guest performances of AUGENBLCIK MAL! 2023, which will take place at the beginning of October.
What is published here is an interim result in the discussion process about those ten productions that will finally be part of AUGENBLICK MAL! 2023 from April 21 to 26. The Festival of Theater for Young Audiences in Berlin from April 21 to 26, 2023. It honors the relevance of the themes, the variety of genres, the awareness of diversity, the sincere attitude towards young audiences, the visibility of young perspectives, the contemporaneity, the courage to take risks, the humor and the quality with which performing arts for young audiences are created and shown in many places in Germany under the most diverse production conditions.
The nominated productions for the final selection of guest performances for the festival of theater for young audiences AUGENBLICK MAL! 2023 are in the order of the submitted proposals:
Julia Keren Turbahn + Jan Rozman, Berlin
Kooperationspartner: FELD Theater Berlin, Emanat Ljubljana, Puppentheater Ljubljana
DINGE DINGEN
Autor*in: Julia Keren Turbahn, Jan Rozman
vorschlag:hammer, Duisburg
Kooperationspartner: KOM'MA Theater Duisburg
Frederick die Maus
Autor*in: nach Leo Leonni; Regie: vorschlag:hammer
pulk fiktion, Köln
Kooperationspartner: FFT Düsseldorf
Robin und die Hoods
Autor*in: Ensemble; Regie: Marcus Thomas
GRIPS Theater gGmbH, Berlin
Kai zieht in den Krieg und kommt mit Opa zurück
Autor*in: Zoran Drvenkar; Regie: Robert Neumann
Fetter Fisch - Performance l Theater, Münster
Alice im Wunderland - ein Spiel mit der Wirklichkeit
Autor*in: Ensembleproduktion frei nach Lewis Carroll, Regie: Leandro Kees
Theater Marabu, Bonn
Master of Desaster
Autor*in: Ensembleproduktion; Regie: Ensembleproduktion
HELIOS Theater, Hamm
Früh Stück
Autor*in: Michael Lurse; Regie: Michael Lurse
Junges Nationaltheater Mannheim, Mannheim
Vom kleinen Maulwurf, der wissen wollte, wer ihm auf den Kopf gemacht hat.
Autor*in: Werner Holzwarth, Wolf Erlbruch; Regie: James&Priscilla (C. Minckwitz, F. Scheer, N. Schneider, A. Spalthoff, J. Tibbe)
Junges Ensemble Stuttgart, Stuttgart
Oma Monika - was war?
Autor*in: Milan Gather; Regie: Milan Gather
Theater o.N., Berlin
Kooperationspartner: Produziert von der Offensive Tanz für junges Publikum Berlin
HARVEST
Autor*in: Ensembleproduktion; Regie: Isabelle Schad
Theater Marabu, Bonn
ZusammenRaufen
Autor*in: Ensembleproduktion; Regie: Tina Jücker und Claus Overkamp
Junges Schauspiel / D'haus, Düsseldorf
Das Leben macht mir keine Angst
Autor*in: nach einem Gedicht von Maja Angelou; Regie: Liesbeth Coltof
Theater der Jungen Welt Leipzig, Leipzig
Bääätsch - Zunge raus!
Autor*in: Luise Audersch, Clara Fritsche, Julia Sontag; Regie: Luise Audersch, Clara Fritsche, Julia Sontag
MOM-MenschObjektMusik, München
CARÍNO
Autor*in: Vern Thiessen; Regie: Annette Geller
Brachvogel & Werling Freies Theater GbR, Impflingen
Kooperationspartner: Follow The Rabbit, Graz/Österreich
Kohlhaas - Moral Highground
Autor*in: Ensembleproduktion nach Heinrich von Kleist, Regie: Nadja und Martin Brachvogel
Traummaschine Inc., München
Happs Oder: Wer hat Angst vorm weißen Hai
Autor*in: Pascal Fuhlbrügge, Jochen Klüßendorf, Charlotte Pfeifer; Regie: Charlotte Pfeifer
Junges Theater Bremen, Bremen
Wie lang geht das noch?
Autor*in und Regie: Arnold&Bianka (Fabian Eyer, Valeska Fuchs, Sebastian Rest, Anne Sauvageot)
TANZKOMPLIZEN - Produktions- und Spielstätte, Berlin
Kooperationspartner: Eine Produktion von TANZKOMPLIZEN im Rahmen der Offensive Tanz
A HUMAN RACE - the rite of Krump
Autor*in: Grichka Caruge; Regie: Grichka Caruge & Ensemble
Piccolo Theater Cottbus, Cottbus
Die Verdunkelung II - Coronaleuchten
Autor*in: Eigenproduktion des Jugendklubs; Regie: Matthias Heine
pulk fiktion, Köln
Kooperationspartner: FFT Düsseldorf
Denken ohne Geländer - Hannah Arendt im Selbstversuch
Autor*in: Ensemble; Regie: Eva von Schweinitz
Manuela Neudegger, Nürnberg
Kooperationspartner: Tafelhalle im KunstKulturQuartier - Stadt Nürnberg
Berührt euch!
Autor*in: Manuela Neudegger und Ensemble; Regie: Manuela Neudegger
FFT Düsseldorf & Vonder Mühll / Thuwis / Biedermann, Düsseldorf
Kooperationspartner: Theater Sgaramusch Schaffhausen, TheaterLiechtenstein TAK Schaan, ROTONDES Luxemburg
dÄmonen
Autor*in: Nora Vonder Mühll, Ives Thuwis, Hannah Biedermann; Regie: Hannah Biedermann
Theater Strahl, Berlin
Kooperationspartner: De Dansers
Hold Your Horses
Autor*in: Ensembleproduktion: Yeli Beurskens, Guy Corneille, Yoko Haveman, Noemi Wagner, Marie Khatib-Shahidi, Liam McCall, Youri Peters, Arturo Vargas; Regie: Josephine Van Rheenen
PINSKER+BERNHARDT, Offenbach
Kooperationspartner: KünstlerInnenhaus Mousonturm, Junges Nationaltheater Mannheim
Body Boom Boom Brain
Autor*in und Regie: PINSKER+BERNHARDT (Janna Pinsker und Wicki Bernhardt)
Staatsschauspiel Dresden, Dresden
Leonce und Lena
Autor*in: nach Georg Büchner in einer Fassung von Joanna Praml und Dorle Trachternach; Regie: Joanna Praml
Junges Schauspiel D'haus, Düsseldorf
Bambi & Die Themen
Autor*in und Regie: Bonn Park
Imaginary Company, Frankfurt am Main
Kooperationspartner: Künstlerhaus Mousonturm Frankfurt
Die Verhandlung
Autor*in und Regie: Ensemble
K3 Tanzplan Hamburg/ Kampnagel Internationale Kulturfabrik GmbH, Hamburg
Dance Machines
Autor*in und Regie: Regina Rossi
HELLA LUX GbR ℅ Liljan Halfen, Frankfurt am Main
Kooperationspartner: jugend-kultur-kirche sankt peter
wearing heavy boots
Autor*in: HELLA LUX; Regie: Liljan Halfen und Milena Wichert
Theater an der Ruhr, Mülheim an der Ruhr
Kooperationspartner: FFT Düsseldorf
Lyriks... von Unendlichkeit umarmt
Autor*in und Regie: subbotnik
Alle hier aufgeführten Angaben zu Titeln, Autor*innen, Beteiligten und Kooperationspartnern basieren auf den im Vorschlagsverfahren von den Theatern eingegebenen Daten zu den eingereichten Produktionen.
Glückwunsch an alle Ensembles und Beteiligten und Daumendrücken für die Endauswahl!
Alle für die Endauswahl nominierten Produktionen sind auf www.kjtz.info mit einem violetten Stern hervorgehoben.
Die zehn von den Kurator*innen ausgewählten Gastspiele für AUGENBLICK MAL! 2023 werden auf www.kjtz.co und auf www.augenblickmal.de am 12. Oktober 2022 veröffentlicht.
Foto: Annett Israel
AUGENBLICK MAL! ist das einzige bundesweite Festival des Theaters für junges Publikum in Deutschland. Als Plattform für herausragende Inszenierungen und unterschiedliche Positionen in den darstellenden Künsten für junges Publikum fördert das Festival seit über 30 Jahren die Entwicklung des Kinder- und Jugendtheaters.
Alle zwei Jahre zeigt AUGENBLICK MAL! zehn impulsgebende Inszenierungen aus Deutschland. Im Diskursprogramm werden Räume für Reflexion und Austausch über die ästhetische, politische und gesellschaftliche Verortung der Darstellenden Künste in Beziehung zum jungen Publikum geschaffen.
Die nationale Plattform des Theaters für junges Publikum bietet dem Fachpublikum aus Deutschland und dem Ausland neben den Gastspielen Raum für künstlerischen Austausch und Reflexion.
AUGENBLICK MAL! 2023 findet vom 21. bis 26. April 2023 in Berlin statt.
Vom 1. Oktober 2021 bis zum 15. August 2022 nimmt das Kinder- und Jugendtheaterzentrum auf dieser WebseiteVorschläge für das Festival AUGENBLICK MAL! 2023 entgegen.
Download
OPEN CALL für AUGENBLICK MAL! 2023 (PDF)
Links
Link zum Online-Formular
Link zum Erklärvideo | Bewerbungsmaterial hochladen
Wer kann Vorschläge einreichen?
Professionelle Theater aller Sparten, Gruppen und Akteur*innen der Darstellenden Künste in Deutschland (im folgenden Theater genannt), die für junges Publikum produzieren, sind aufgerufen, eigene Bühnenproduktionen vorzuschlagen. Ebenfalls vorgeschlagen werden können digitale Produktionen, wenn sie originär für den virtuellen Raum erfunden wurden und nicht Übertragungen konventioneller Theaterproduktionen ins Digitale sind. Die Vorschläge sollen beispielhaft für das Verständnis der Vorschlagenden von den Darstellenden Künsten für junges Publikum sein.
Welche Inszenierungen können vorgeschlagen werden?
Jedes Theater darf insgesamt zwei Kindertheater- und zwei Jugendtheaterinszenierungen vorschlagen, die in den Spielzeiten 2020/2021 und 2021/2022, also im Zeitraum vom 01.08.2020 bis zum 31.07.2022 Premiere hatten. Als Premiere gelten auch interne Premieren und nichtöffentliche Voraufführungen.
Was muss eingereicht werden?
Die Daten zu den Vorschlägen werden über ein Online-Formular auf der Seite www.kjtz.info erfasst und eingereicht. Mit den Vorschlägen muss eine aussagekräftige und technisch einwandfreie Videoaufzeichnung im mp4-Format sowie weiteres Material (Inszenierungsfotos, Presseausschnitte, Programmheft, theaterpädagogisches Begleitmaterial etc.) eingereicht werden.
Welche weiteren Bedingungen sind zu erfüllen?
Das vorschlagende Theater versichert mit dem Vorschlag, dass die Produktion im Falle der Auswahl für den gesamten Zeitraum des Festivals vom 21. bis 26. April 2023 für ein Gastspiel in Berlin verfügbar sein wird.
Im Falle einer Einladung zum Festival wird der Gastspielvertrag mit dem vorschlagenden Theater geschlossen.
Das vorschlagende Theater sichert im Sichtungszeitraum ausreichend Sichtungstermine zu.
Wie reiche ich einen Vorschlag ein?
- Rufen Sie die Webseite www.kjtz.info auf und wählen Sie im Menü AUGENBLICK MAL! ! 2023 den Unterpunkt „Online-Formular“ aus.
- Füllen Sie das Online-Formular vollständig aus und senden Sie es ab.
- Sie erhalten per E-Mail eine Eingangsbestätigung. In dieser E-Mail finden Sie alle Daten, die Sie im Formular eingegeben haben. Bitte überprüfen Sie, ob diese richtig und vollständig sind.
- Mit dieser E-Mail erhalten Sie zugleich die Aufforderung einen Link anzuklicken und so die Einrichtung Ihres Zugangs zur KJTZBOX freizuschalten. Sie erhalten nun zwei weitere E-Mails mit Ihren Zugangsdaten für die KJTZBOX. Eine E-Mail enthält den Link zur KJTZBOX und die andere das Passwort für Ihre Anmeldung.
- Melden Sie sich in der KJTZBOX an und laden Sie bitte eine vollständige, aussagekräftige und technisch einwandfreie Aufzeichnung der vorgeschlagenen Inszenierung im mp4-Format sowie weiteres Material (z.B. Inszenierungsfotos und Presseausschnitte) hoch. Eine Hilfestellung für das Hochladen Ihres Videos und weiterer Dateien finden Sie unter dem Unterpunkt „Hilfe“ im Menü AUGENBLICK MAL! 2023 auf der Webseite www.kjtz.info.
- Sobald Sie die Videodatei und weiteres Inszenierungsmaterial erfolgreich in der KJTZBOX hochgeladen haben, wird Ihr Vorschlag von unserer Redaktion geprüft und für den Sichtungsprozess der Kurator*innen freigeschaltet.
- Nach der Freischaltung erscheint Ihr Vorschlag unter dem Untermenü „Vorschläge Kindertheater“ oder „Vorschläge Jugendtheater“ im Menü AUGENBLICK MAL! 2023 auf der Website www.kjtz.info. Alle freigeschalteten Vorschläge werden in der Reihenfolge ihres Eingangs veröffentlicht.
Bitte beachten Sie: Die von Ihnen eingereichten Inszenierungsmaterialien und Medien werden nach Abschluss des Auswahlverfahrens im Zeitgenössischen Archiv des KJTZ aufbewahrt und unter Beachtung der urheberrechtlichen Bestimmungen für Nutzer*innen zugänglich gemacht.
Wie wird entschieden?
Alle vorgeschlagenen Inszenierungen werden von den Kurator*innen zunächst per Video gesichtet. Voraussetzung für eine Einladung zum Festival ist die Live-Sichtung durch mindestens drei Kurator*innen. Ab Januar 2022 beginnen die Kurator*innen mit den Sichtungsreisen.
Im September 2022 treffen die Kurator*innen eine Zwischenauswahl von nominierten Inszenierungen, die für eine Einladung in Frage kommen. Die betreffenden Theater werden darüber informiert und aufgefordert, kurzfristig weitere Informationen zu einem möglichen Gastspiel während des Festivals in Berlin wie detaillierte Bühnenpläne und Kostenkalkulationen zur Verfügung zu stellen.
Die Zwischenauswahl wird auf www.kjtz.info veröffentlicht.
Anfang Oktober 2022 treffen die Kurator*innen die finale Auswahl von fünf Inszenierungen für Kinder und fünf Inszenierungen für Jugendliche. Im Anschluss gibt das KJTZ die Einladungen für AUGENBLICK MAL! 2023 bekannt.
By Thalia Schoeller
After Arne Vogelgesang said on stage that theater can't do anything, the chat among the audience was quite busy asking what theater can do. And once again it became clear: there are more professionals than young people at this festival. I felt slain after the play. I think everyone who is not new to this flood of information in the form feels slain afterwards. You're in the bum part of babum babum babum. You kind of move on at some point, but not hopefully. You’re going on looks different from ours. You have professions, vocations, children. We decide now for a career to whose climax we can no longer come and against children. With this suppressed but fundamental hopelessness, a generation is growing up that can factually underpin its depressive episodes. I know that I will probably see war. I know that I will experience the collapse of systems. I know I will experience climatic, social, and physical extremes. And although a desire to have children is the strongest and most consistent feeling I know; I know that I would not want to do to any child the living conditions into which the children of our generation would be born. That's how I think about children. When you think about children you make “Fennymore”. It's time for you to grow up and take responsibility - at least mentally - and not be constantly distracted by what you know about the world. Do as your children do. Then we can talk again.
I no longer talk to people who say I still have time. I no longer talk to people who say that our generation will save the world. I no longer talk to people who say I need a high school diploma, a degree, then 3 years of work experience to be socially relevant. And yes, I still want to be in theater. And be socially relevant there. And I did my 3 years of work experience while I was in school, because I just don't have time anymore. And it's hard to get into theater when you don't want to talk to ignorant people anymore, so I just do it anyway and thank them a thousand times for every opportunity to talk and cry at home, alone, all bitter because I'm left alone by my parents' generation. Because even my parents tell me that I still have time. Privilege creates blind spots and people with so many blind spots have no business in the leadership positions of theaters. If you want to tell me about the world, please start outside of Europe. If you are old, white, cis, rich, able-bodied, male, and have no trauma, then you have blind spots in all currently important discourses. How is theater supposed to be currently important if these people keep making theater? And it's not like you can't change that. It's not like theater is inherently niche. All the things you rave about when you talk about what theater can do, it really can. Not with you at the helm, of course, but it could. If you hand it over to people who know more about the world than you do, it could. What you know, I learned in school. You teach us that because you think it's still relevant. And now I'm done with school and done with you. And if the world doesn't change, as long as the extreme states haven't happened, if I'm not allowed to change the world, as long as the extreme states haven't happened, you've ruined not only my future but also my present. You have failed as parents. You have failed as children's theater makers.
Accept that theater can do nothing. Step away. Give us this playground. We deserve it too. Give us 20 more years of life, please. Now I'm asking you. Now I'm friendly again. I'll strip for you if you want to. Tell me who I have to sleep with to be allowed to stage and I'll do it. I need unconventional solutions because I don't have time for the classical way. Please, please, dear theater makers reading this, let me make theater. Pre-apocalyptic theater. I am 100% serious about this. Please contact me at thalia.schoeller@web.de. I will not be able to follow the same path as you because I do not have the same time perspectives that you had as teenagers. The maturity tests in theater are hard and long. That's why the young generation of theater makers is in their mid-30s. In 20 years, when I'm in my mid-30s, theater won't exist in the form it currently has. I still love theater. So heartbreakingly powerful. Please please please, dear generation of parents in decision-making positions, change the rules of the game for us. Let us play along. This is what you can still do.