The Nationaltheater Mannheim is planning a production of Greg Liakopoulos’ GENERATION LOST. The author has written the play in English for the New Stages Southeast program with various institutes in the south-eastern European region.
Bochert Translations will handle the translation of the play into German.
The Kulturamt of the City of Mannheim publishes a documentary of the Schwindelfrei Theater Festival 2022. Chang Nai Wen’s essay on a process oriented mindset in the performing arts was translated from English by Bochert Translations.
In July, the Kammerspiele Munich present the immersive, six-hour performance RESPUBLICA byŁukasz Twarkowski and the ensemble. The production is based on an exciting social experiment.
The translation of the German supertitles for this show was accomplished by Bochert Translations in collaboration with Arneta Aley (Lithuanian titles) and Sprachspiel.
The international theater festival Theaterformen is taking place in Braunschweig this year. On this occasion, Vivek Shraya’s performance HOW TO FAIL AS A POPSTAR will be presented.
The translation for the German supertitles of the show was completed by Bochert Translations.
After the German translation of Eve Leigh’s MIDNIGHT MOVIE was presented as a staged reading by Verena Regensburger at the Stückemarkt of the Theatertreffen 2021, the Rowohlt Theaterverlag commissioned the translation of Leigh’s text WILDFIRE ROAD. We just delivered this under the title FLÄCHENBRAND. The German premiere is scheduled for September 2022.
It is my outstanding pleasure and privilege to translate THE TRIALS (DIE PROZESSE), the newest text by British playwright Dawn King. The play is a commission by the Düsseldorfer Schauspielhaus, its world premiere is scheduled for 04 June 2021 at the Bürgerbühne Düsseldorf.
In a not too distant future, a jury of children and teenagers are to decide over the fate of the generations of their parents. The climate catastrophe has happened, the ressources of an overheating earth will not suffice for its too many human inhabitants. With the trials, the former generation is judged by the future one for its responsibility for this catastrophe, the guilty ones are executed: fewer mouths to feed.
With her great success FOXFINDER (finalist of the Suzan Smith Blackburn Prize 2013/14) and her play CHIFFREN, King is already a name even on German stages.
Directed by Adrian Figueroa, designed by Irina Schicketanz, and with a large cast of 15 characters, the production is certainly something to look forward to.
The rehearsals are in their final stage, the batteries of the tablet computers are being charged so that everything will be ready for the opening of DIE MASCHINE IN MIR (VERSION 1.0) at the Burgtheater on New Year’s Eve. You can already find a trailer here:
After a lot of time (thanks, Corona) for meticulous polishing, after a wonderful lectorate (thank you, Rowohlt), the beautiful text by Eve Leigh is now available in German from Rowohlt Theater. I am very much looking forward to see it produced!
by Eve Leigh
A lonely voice sleepless in front of the Internet, at night. New tab – a man in the bathtub. New tab – a young woman inside a watertank. New tab – a girl on the tracks.
Eve Leigh’s dream – or nightmare – about the solitude of pain, about digital bodies as (questionable) freedom from one’s own limited body, about handicaps, accessibility, force and personal freedom, premiered at the Royal Court Theatre in London in November/December 2019.
Commissioned by Rowohl Theater Verlag, Bochert Translations translates this fascinating text by the British-American playwright into German.
translated from American English into German by Henning Bochert
A New York Times Critics’ Pick for “Theater This Season,” Fall 2019
Obstetrician Michelle and neuroscientist Eve are among the privileged to live unter “the Dome”, the only place on the otherwise uninhabitible planet where life is possible, albeit only for a chosen few – and under gruesome conditions. The human species being endangered, women have become birth machines. Life declared unfit is instantly made into food. Together with Tanaka – who came from “far from here” and was only admitted to measure the radiation in his bones – the women develop a method to prenatally create cortical connections to facilitate the leap to a higher evolutionary level on which “heart and mind” are connected and made one. With Opa, Eve’s grandfather, they escape the Dome and, in nature struggling to regain its balance, they sacrifice themselves to give birth to these creatures of a new, higher species and thus literally save the future.
Her characters are strong and fascinating, her contexts brilliant and horrifying, and her tone always warm and, in the end, loving.
– Andrew Solomon, Ex-Vorsitzender des PEN American Centers
A utopian vision for a reconfigured race that will be “Other Than We” – hybrid creatures, human/non-human that will adapt and sustain themselves in the treacherous territory outside of The Dome. Malpede uses image-rich language and striking stage pictures to transmit an urgent call for global unity, imagination, transformation, and action.
– Cindy Rosenthal, The Theatre Times
Wild, fun, and unnerving.
— Andrew Revkin, science and environmental journalist
A playful but powerful meditation on urgent philosophical questions . . . consciousness, language, evolution, life and death.
– Jo Mispel, Motherhood Later
Simultaneously unsettling, surreal and hopeful . . . a post-apocalyptic scenario in which survivors have a chance to remake the world . . . a grand vision, born of catastrophe, but with the possibility of triumph.
– Eleanor Bader, The Indypendent
It questions the origins of consciousness and thrives on the thrill of creating a better human species . . . Can the quartet of fugitives accomplish their outlandish goal?
– Lena Zeldovitch, Woman Around Town
For decades, and after 19 plays, the US American eco-feminist Karen Malpede is a renowned playwright/director in US theatre. In 1995, together with her partner and actor George Bartenieff, she founded the Theater Three Collaborative to be able to produce plays that would otherwise not be produced because of their social justice themes. Her most recent play Extreme Whether for example shows how scientists desperately fight for telling the truth about climate change against the oil industry’s resistance, while her earlier play Another Life deals with the U. S. torture program. In her entire work, she deals with social-political aspects, feminism, climate, and environment. She teaches at the John Jay College of Criminal Justice (New York City).
