This trailer for a forthcoming documentary film is based on an interview conducted in October 2016 with Samee Ullah, a Pakistani refugee in Berlin who acted in the play Letters Home developed by Refugee Club Impulse. In the interview, Samee
Rosanna Jahangard and Kate Duffy* (Phosphoros Theatre) In the summer of 2015, three young refugee men approached their housing Key Worker to say that they had stories they wanted to tell, that they thought they were funny and wanted
Zafiris Nikitas* Theatre of Reality Anestis Azas is an acclaimed Greek director working in Greece and other areas of Europe, especially Germany. He works alone but also as a duo with director and actor Prodromos Tsinikoris. These two directors have
Anika Marschall* In events such as the war in Syria, the genocide and persecution of Christians in Iraq, or the heavily reported drowning of many refugees[1] near Lampedusa—making the island’s name a catchphrase for the failures of European immigration policy—different
Ralf Remshardt* Nicolas Stemann’s production of Elfriede Jelinek’s text Die Schutzbefohlenen, at the 2015 Berlin Theatertreffen, began with, perhaps, the most overworked gesture of intermedial theatre: as the audience entered, a live feed flickered on monitors around the auditorium, while
Silke Felber* Human categorizations, which are based on dominant differences such as ethnicity, national and religious affiliation and gender, are used to distinguish people from one another, or to subsume them into social collectives according to the characteristics they share.
Yana Meerzon* and Daniel Meyer-Dinkgräfe** Introduction Any person coming to Germany who is persecuted politically or in another way in their home country (as in Syria by the terror militia of the so-called “Islamic State”) has the right to
Katrin Sieg* Germany received over a million asylum seekers in 2015, and for one halcyon moment last summer, basked in the international community’s admiration of its “welcome culture.” Cultural institutions there played an active part in spurring public discussions concerning
Jamie H. Trnka** Beneath the stark lighting of the black box theatre in Stockholm’s Kulturhuset, actor Per Burell walks from his seat on stage left to the center podium to read the testimony of Kenan, a 45-year-old father of five
Jonas Tinius* But can the untranslatable be voiced at all? How to articulate the leftover inexpressibles of translation? Is it perhaps to be glimpsed in a back-to-front crazy word, an image’s shimmer, the flick of a gesture, the intimacies of