This is Venice (Othello & The Merchant of Venice)

nach William Shakespeare in einer Bearbeitung und neu übersetzt von Elisabeth Bronfen und Muriel Gerstner &
Dramaturgie Alexander Kerlin , , Dramaturgie Tobias Herzberg , ,
in einer Bearbeitung und neu übersetzt von Elisabeth Bronfen , , in einer Bearbeitung und neu übersetzt von Muriel Gerstner , ,
Regie Sebastian Nübling , ,
Bühnenbild Muriel Gerstner , ,
Kostüme Pascale Martin , ,
Musik Lars Wittershagen , ,
Choreographie Christine Gaigg , ,
Licht Friedrich Rom , ,
Gratiano Gunther Eckes , ,
Prinz von Arragon Bardo Böhlefeld , ,
Shylock Itay Tiran , ,
Prinz von Marokko Gunther Eckes , ,
Jessica Maresi Riegner , ,
Othello Roland Koch , ,
Emilia Sylvie Rohrer , ,
Antonio Dietmar König , ,
Roderigo Dietmar König , ,
Bassanio Mehmet Ateşçi , ,
Lorenzo Bardo Böhlefeld , ,
Brabantio Markus Hering , ,

All hell has broken loose on the Rialto. Intrigues are being woven, marriages sealed and deals done. In the great carnival of power, money and commercial advantage, a flawed patriarchal system, based on the suppression of women and the structural exclusion of minorities, has gained the upper hand in Venice. The Law of the Fathers holds sway – and whoever is not white, Venetian and Christian is ostracised. This is how the money and war machine that is Venice stabilises itself and survives one crisis after the other. What’s more: in spite of its crumbling core, it expands its wealth and power. In the impending war against the Turks, who are threatening the colonial empire, all of Venice wants to prove itself.

Cultural scientist Elisabeth Bronfen, stage designer Muriel Gerstner and director Sebastian Nübling have merged William Shakespeare’s two great Venetian plays into a single dramatic world. What happens when war is averted and the violence turns inward? And how would things turn out if, in this Venice, the women – Desdemona, Emilia, Bianca, Portia, Nerissa and Jessica – had the last word?


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