Playing, laughing, being loud, romping, doing nothing – and that in an exhibition house! From September 4, 2024, BAUBAU invites exactly that. In the play space for children designed by artist Kerstin Brätsch, more is allowed than forbidden. Colorful wallpapers, structures, objects, and a range of “Loose Parts” form spaces on the ground floor of the Gropius Bau that do not impose fixed guidelines but are determined by the activities of the children. They dictate the direction and form of what happens here. Thus, this place becomes a space of possibilities that can change day by day.

BAUBAU will launch in September 2024 in a prototype version and will continue to develop and grow over the coming years both inside and outside the Gropius Bau – in close exchange with the children and their wishes, as this is their place.

The Play
All children have the urge to play. This is how they learn to understand themselves and the world. Especially open, self-determined play is of great significance for emotional and social development. The educational concept for BAUBAU is therefore based on the principles of free play: Here, there is time, space, and permission for children to follow their own needs and interests. They are accompanied by playworkers – trained staff who create a safe and supportive environment where children can play freely.

 
The Art
BAUBAU playfully questions what a museum or an art institution should be. The comprehensive spatial design developed by Kerstin Brätsch is full of references and inspirations: elements from her previous works, such as marbling, paintings, or stucco marble work, reappear here in altered forms and materialities. The wallpapers, curtains, fabrics, seating furniture, and climbing structures are inhabited by dinosaurs, fantastical beings, termite mounds, and abstract elements. With their strange, funny, and perhaps a bit eerie shapes, they create an open framework for free play.

Kerstin Brätsch's practice is designed to allow and incorporate influences from outside. While she has previously collaborated with artists or artisans, she now does so in a completely different way with children: She invites the children to reshape and further develop the space according to their own ideas and visions, without the influence of the artist in unpredictable ways.

Mon, Wed, Thu, Fri 12:00–18:00
Sat, Sun 11:00–18:00
Tue closed

Songs and Letters by Hugo Wolf and Pauline Viardot, among others.

When thinking of Mörike settings, one immediately thinks of Hugo Wolf. After all, he left behind true masterpieces with his 53 Mörike songs. However, it is hardly known that the French composer Pauline Viardot also has a whole dozen fantastic Mörike songs. Now, these Mörike songs will be performed for the first time as a cycle, conceptualized by musicologist and Viardot expert Prof. Dr. Natasha Loges. In a Mörike-Zeitkapsel, Dr. Gunilla Eschenbach from the DLA Marbach presents the freshly expanded "Family Archive of the Schmid and Kauffmann Musical Families" alongside letters from Pauline Viardot from the Mörike collection Berge, which includes manuscripts by Tübingen University Music Director Emil Kauffmann, who maintained a friendly relationship with both Eduard Mörike and Hugo Wolf.

In collaboration with the International Hugo Wolf Academy.

Songs by Hugo Wolf and Pauline Viardot

When thinking of Mörike settings, one immediately thinks of Hugo Wolf. After all, he left behind true masterpieces with his 53 Mörike songs. However, it is hardly known that the French composer Pauline Viardot also has a whole dozen fantastic Mörike songs. Now, these 12 Mörike songs will be performed for the first time as a cycle, conceived by musicologist and Viardot expert Prof. Dr. Natasha Loges. In a Mörike time capsule, the DLA Marbach will also present the newly expanded "Family Archive of the Schmid and Kauffmann Music Families," which includes, among other things, manuscripts of the Tübingen University Music Director Emil Kauffmann, who maintained a friendly relationship with both Eduard Mörike and Hugo Wolf.

Playing, laughing, being loud, romping, doing nothing – and that in an exhibition house! From September 4, 2024, BAUBAU invites exactly that. In the play space for children designed by artist Kerstin Brätsch, more is allowed than forbidden. Colorful wallpapers, structures, objects, and a range of “Loose Parts” form spaces on the ground floor of the Gropius Bau that do not impose fixed guidelines but are determined by the activities of the children. They dictate the direction and form of what happens here. Thus, this place becomes a space of possibilities that can change day by day.

BAUBAU will launch in September 2024 in a prototype version and will continue to develop and grow over the coming years both inside and outside the Gropius Bau – in close exchange with the children and their wishes, as this is their place.

The Play
All children have the urge to play. This is how they learn to understand themselves and the world. Especially open, self-determined play is of great significance for emotional and social development. The educational concept for BAUBAU is therefore based on the principles of free play: Here, there is time, space, and permission for children to follow their own needs and interests. They are accompanied by playworkers – trained staff who create a safe and supportive environment where children can play freely.

 
The Art
BAUBAU playfully questions what a museum or an art institution should be. The comprehensive spatial design developed by Kerstin Brätsch is full of references and inspirations: elements from her previous works, such as marbling, paintings, or stucco marble work, reappear here in altered forms and materialities. The wallpapers, curtains, fabrics, seating furniture, and climbing structures are inhabited by dinosaurs, fantastical beings, termite mounds, and abstract elements. With their strange, funny, and perhaps a bit eerie shapes, they create an open framework for free play.

Kerstin Brätsch's practice is designed to allow and incorporate influences from outside. While she has previously collaborated with artists or artisans, she now does so in a completely different way with children: She invites the children to reshape and further develop the space according to their own ideas and visions, without the influence of the artist in unpredictable ways.

Mon, Wed, Thu, Fri 12:00–18:00
Sat, Sun 11:00–18:00
Tue closed

The theater adventure for the whole family - on the open-air stage in Waren (Müritz)!

Exciting stories full of love, action, and humor! An enthralling journey into the past of the Müritz region with thrilling battles, horses, historical costumes, and specially composed stage music. Located in the midst of greenery, just a few minutes' walk from the historic city center, is the dreamlike backdrop of the open-air stage in Waren (Müritz) on the wooded Mühlenberg.

Admission from 30 minutes before the start of the event

Thanks to mindfulness, Björn Diemel has found his center. However, his problem areas are now the edges of his body, which are increasingly moving away from this center. Björn realizes that being at peace with oneself and a lack of movement are two completely different things.
When strangers attempt to abduct Björn's daughter, he can only just manage to scare them off due to his body size. So, Björn has Joschka Breitner coach him on the principles of conscious nutrition. He dives into the fascinating world of detox fasting and dietary components. Björn is still unaware of how wonderfully nutrition, relaxation, and the dissolution of violent fantasies can be combined.

Playing, laughing, being loud, romping, doing nothing – and that in an exhibition house! From September 4, 2024, BAUBAU invites exactly that. In the play space for children designed by artist Kerstin Brätsch, more is allowed than forbidden. Colorful wallpapers, structures, objects, and a range of “Loose Parts” form spaces on the ground floor of the Gropius Bau that do not impose fixed guidelines but are determined by the activities of the children. They dictate the direction and form of what happens here. Thus, this place becomes a space of possibilities that can change day by day.

BAUBAU will launch in September 2024 in a prototype version and will continue to develop and grow over the coming years both inside and outside the Gropius Bau – in close exchange with the children and their wishes, as this is their place.

The Play
All children have the urge to play. This is how they learn to understand themselves and the world. Especially open, self-determined play is of great significance for emotional and social development. The educational concept for BAUBAU is therefore based on the principles of free play: Here, there is time, space, and permission for children to follow their own needs and interests. They are accompanied by playworkers – trained staff who create a safe and supportive environment where children can play freely.

 
The Art
BAUBAU playfully questions what a museum or an art institution should be. The comprehensive spatial design developed by Kerstin Brätsch is full of references and inspirations: elements from her previous works, such as marbling, paintings, or stucco marble work, reappear here in altered forms and materialities. The wallpapers, curtains, fabrics, seating furniture, and climbing structures are inhabited by dinosaurs, fantastical beings, termite mounds, and abstract elements. With their strange, funny, and perhaps a bit eerie shapes, they create an open framework for free play.

Kerstin Brätsch's practice is designed to allow and incorporate influences from outside. While she has previously collaborated with artists or artisans, she now does so in a completely different way with children: She invites the children to reshape and further develop the space according to their own ideas and visions, without the influence of the artist in unpredictable ways.

Mon, Wed, Thu, Fri 12:00–18:00
Sat, Sun 11:00–18:00
Tue closed

Murat Yeginer DIE OPTIMISTINNEN Musical play based on the novel by Gün Tank

With "Istanbul," director Murat Yeginer and his ensemble broke records at the Old Theater! Now we continue the story of the guest workers – from the perspective of strong women.

The focus is on the women who came to Germany in the 1970s from Turkey, Spain, Italy, Greece, Yugoslavia, Morocco, and Tunisia to work here.

One of the many female guest workers is 22-year-old Nour from Istanbul. She is young, motivated, and optimistic. However, the city girl struggles with the customs of the German village where she now lives. The accommodation in the dormitory needs improvement, the working conditions in the factory are questionable, and the pay is unjust.

When Nour learns about a women's strike in the 1920s, she begins to fight for the rights of female workers together with her friends!
“With a wonderful lightness and humor, Gün Tank narrates the fate of these women. Their struggles for justice – but also their unbridled zest for life,” judged the Bavarian Broadcasting.

Now the novel is coming to the stage in its own adaptation with a German-Turkish ensemble and lots of live music at the Old Theater!

Performances from June 12 to July 18, 2026

With Ursula Berlinghof, Yasemin Cec, Selda Falke, Sorina Kiefer, Frederik Leberle, Murat Yeginer, among others.
Band Murat Bay, Apostolos Naumis, Mert Eylem Sezgin, among others.
Direction Murat Yeginer
Musical direction N.N.
Stage and costumes Beate Zoff
Choreography Sorina Kiefer
Dramaturgy Susanne Schmitt

A biographical evening of songs with Antje Rietz & Band

“For me, it should rain red roses,” “One and one” or “I need a change of scenery” are chansons that one does not forget. Hildegard Knef was everything: a former film star, exceptional singer, and bestselling author. With her autobiography “Der geschenkte Gaul,” she stormed the bestseller lists just as her songs climbed the charts.

Antje Rietz is an extraordinary artist herself. Recently, she thrilled our audience with the Caterina-Valente evening “Music is in the Air.” As a singing actress, she has portrayed Marlene Dietrich and Hildegard Knef – now she devotes an entire evening of songs to Knef! Together with her excellent live band, Antje Rietz presents her new program “Hildegard Knef – Lieder und Leben eines Weltstars” exclusively at the Komödie im Marquardt.

Duration
July 8 – July 12, 2026
Approx. 2 hours, including a break

Cast
Vocals, trumpet and acting Antje Rietz
Four-member live band

Play for people aged 5 and above

The little witch just wants to know. Secretly, she sneaks to the Blocksberg and celebrates the wild Walpurgis Night with the big witches. It is strictly forbidden for her; she is far too young and inexperienced for that. What must happen happens: She gets discovered.

The punishment: She must prove that she can become a good witch. Together with her raven, she performs true wonders and manages to become a really good witch. Her great dream must definitely come true – at the next Walpurgis Night, the old witches should finally take her into their witch circle.

But then it turns out differently, very differently. The question arises whether a really good witch is truly good if she is good to everyone. Must a good witch not be really wicked?

The performances of this wonderful story will provide the answer. It will be a grand theatrical adventure for the whole family, and one thing is already certain: The little witch enchants the world and all of us and makes us truly happy. That's a promise!

Admission: 09:45 AM

The permanent exhibition on the life and work of Erich Maria Remarque offers a detailed look into the life, work, and thoughts of the famous writer through numerous photographs, documents, and manuscripts. The exhibition is bilingual, presented in German and English throughout.

Divided into seven sections covering his youth in Osnabrück (1898–1921), the years in Hanover and Berlin (1922–1928), the discussion around All Quiet on the Western Front (1928–1930), his exile in Europe (1931–1939) and the USA (1939–1948), his political works in the 1950s, and the 1960s leading up to his death on September 25, 1970 in Locarno, the exhibition attempts to highlight the ruptures, contradictions, and controversies in Remarque's life while emphasizing their productivity for his work. It illustrates Remarque's numerous psychological conflicts, aiming to resolve the apparent contradiction between the "bon vivant" and the "militant pacifist," and provides insight into his acquaintances, friendships, and marriages. Numerous originals such as the death mask or Remarque's original desk complement the presentation.

Another focus of the exhibition is the worldwide, often highly controversial reception of Remarque's works, which have been translated into at least 60 languages and continue to attract a global audience of millions.

An information terminal allows visitors to delve deeper into specific questions about Remarque's life and work. Another terminal provides access to over 2,000 photographs spanning all stages of Remarque's life, his residences, contacts, and the film adaptations of his works.

The exhibition is open for free visits on Tuesdays to Fridays from 10 am to 1 pm and from 3 pm to 5 pm, and on Saturdays and Sundays from 11 am to 5 pm. Guided tours for school classes and other interest groups can also be arranged outside regular opening hours. Tours can be scheduled with Mr. Martin Siemsen (siemsen.m@osnabrueck.de) by phone at 0541/323-2109 or fax at 0541/323-4355.

A shop on-site offers materials related to Remarque's life and work for sale.

The castle with a lot to offer: "HerrschaftsZeiten! Erlebnis Cadolzburg" from June 24, 2017 at the Cadolzburg - the new highlight of the Nuremberg Metropolitan Region

A powerful castle - the setting of the illustrious history of a ruling family that has achieved great success: this was and is the Cadolzburg. The rulers were the Hohenzollern family, who ruled over Franken and later Brandenburg, also gaining electoral dignity in the 15th century. Later on, they even became Prussian kings and German emperors.

The Cadolzburg derives its radiance not only from its role as the starting point of a significant career in the Holy Roman Empire - the impressive structure itself reflects this golden era of the Hohenzollerns. The new museum "HerrschaftsZeiten! Erlebnis Cadolzburg" of the Bavarian Administration of State Castles will make this time - the late Middle Ages - exciting and informative for visitors through innovative communication concepts. While walking through the castle, visitors can learn not only about the architectural history, wars and peace, daily life, and governing tasks of the princely castle residents. There is much to discover here through interactive and sensory means:

Visitors can experience the castle through their sense of smell, there are tactile stations, sounds and dialogues, vivid models, and invitations to try things out. Exciting or challenging games, medieval Hohenzollerns in their own words, and the jester Contz who guides visitors through the castle bring the Middle Ages to life. Visitors can also expect to see several original medieval artifacts such as swords, maces, or a magnificent treasure chest. Other objects were specially crafted for the museum based on extensive research in historical techniques, such as the gilded armor of the famous General Albrecht Achilles, or textiles dyed according to original recipes. The Bavarian Administration of State Castles also made significant contributions to experimental historical research, like creating a breastplate from boiled leather, in line with the ambition of creating one of Germany's most important castle museums.

The cultural communication of the Bavarian Administration of State Castles also offers a diverse program of accompanying events, making this exciting history even more intriguing - for the young nobleman as well as the castle enthusiast.

Not only the Middle Ages but also the Cadolzburg itself now comes back to life. After the extensive damage of World War II, original medieval rooms and successful architectural creations of the 21st century can now be experienced. The modern buildings completed in 2017 bridge the medieval era with our present time.

You can expect very special experiences here - it truly is THE CASTLE WITH A LOT TO OFFER.

 

 

The Romantic era was a particularly brilliant period for portrait miniatures, reaching its peak and at the same time signaling the end of this special painting technique. Countless artists created portraits with great empathy and astonishing technical perfection. More people than ever collected small portraits of their loved ones to carry with them or to gather at home as a pictorial family album. 142 masterpieces from the renowned Tansey collection illuminate the heyday of an art that had to make way for photography during the 19th century.

Accompanying the exhibition is a catalog that, in addition to the annotated reproduction of all works, is distinguished by essays by various experts on aspects of miniature painting during this time. Hirmer Verlag, bilingual German/English, 432 pages, 208 color illustrations.

Tue - Sun 11am-5pm

How do we please everyone? Or not at all.
"Absolutely fantastic!" – "So utterly failed!" – "Finally something new!" – "We want our money back!" The theater is the place for great emotions. But emotional outbursts don’t only happen on stage; sometimes they can also be experienced in escalating audience discussions or passionate letters to the editor. In a project developed from within the staff, we dedicate ourselves to the charged relationship between institution and audience. Who owns the theater? Where does constructive feedback end, and where does unrestrained insult begin? An evening about a turbulent relationship – full of irony, wit, and critical self-reflection.

Have you ever been in love with me? Have you ever kissed in the dark? No? Then dive headfirst into the wild 1920s! With spirit, vocal power, and a wink, Bernard Liebermann and Paul Heller bring the songs and texts of the Weimar Republic to the stage.
Whether frivolous couplets or biting satire – the art of the Golden Twenties was as colorful as its nights. But what was relevant back then often hits the mark today: Has the world really become different or is it just the gramophone that’s more modern…?
From Joachim Ringelnatz and the Comedian Harmonists to Kurt Tucholsky or Claire Waldoff: Bernard Liebermann and Paul Heller present sharp punchlines, melancholic comedy, and the captivating sound of an era between intoxication and ruin. A cabaret ode to the shine and glory of the wild 20s.

18:00

Play! - With Chris

Christopher Zuar | Direction
hr-Bigband & students of the MA Bigband

The work of the young New York composer and bandleader Christopher Zuar has been applauded by the most renowned critics and musicians such as Fred Hersch and Maria Schneider. His imaginative compositions tell stories without words. Now he comes to us to show the MA Bigband students his vision.

As part of the MA Bigband program at the Frankfurt University of Music and Performing Arts (HfMDK), students regularly get the opportunity to learn from the best in the international music scene. In the “PLAY!” series, the hr-Bigband shares the stage with the students, this time under the direction of Christopher Zuar.

Concert duration: about 120 minutes – including break
_________

The work of the young New York composer and bandleader Christopher Zuar has been applauded by the most renowned critics and musicians such as Fred Hersch and Maria Schneider. His imaginative compositions tell stories without words. Now he comes to us to show the MA Bigband students his vision.

Concert duration: about 120 minutes – including break

House opening: 19:00 hours No admission claim after the concert begins.

»Sometimes I think the sky is made up of uninterrupted, never-tiring reading.«
(Virginia Woolf)

Due to high demand, we will again offer the popular 5+1 subscription starting August 1, 2024.

This also applies to discounted tickets (discounts are available upon proof for students, refugees, people with disabilities, and Munich Pass holders). Pay the price for 5 events and attend 6 (Euro 50.- instead of Euro 60.- for 6 events).*

With the promotional code included in the 5+1 subscription, you can then book 6 events of your choice (of course, already sold-out events are excluded). / The code can be redeemed for a maximum of 6 selected events (also in several stages if desired). / PLEASE NOTE that you can only use the code once per event, as the subscription is valid for one person only. / A service fee of 2.- EURO will be charged for each online booking with the promotional code via Reservix.

*This currently only applies to events with an admission price of EURO 16.- (regular price) as well as reduced EURO 10.-.

With the exhibition »The Story That Never Ends. The Collection of the ZKM«, the ZKM | Karlsruhe provides a comprehensive insight into its own collection, which, with around 12,000 works, is among the largest and most significant collections of media art in the world. The exhibition tells not only of the intertwined stories of art and technology but also of the challenges that fast-paced technological media bring to museums worldwide.

The history of media art from the 1950s to the present

Electrification and digitalization have changed the world. This transformation has not only affected our daily lives but has also impacted artistic creation. 

Since the beginning of the 20th century, artists have been using these rapidly evolving technologies and constantly expanding the expressive possibilities of art: The spectrum ranges from video, light, and sound works to motor-driven kinetic objects, as well as computer-based interactive installations or works created with the help of artificial intelligence. 

With about 100 works, »The Story That Never Ends« traces these developmental lines of the apparatus arts and their openness to the categories of space, time, and movement as well as interaction and participation – from the 1950s to the present. A selection of important key works that represent significant moments and milestones of media art illustrates the diversity and impact of these technological developments. Marie-Jo Lafontaine's monumental video sculpture »Les larmes d’acier« (1987), which ironizes the complex conceptual constellations of "man, machine, power, and sexuality," as well as Bill Viola's video-sound installation »Stations« (1994), which unites central aspects of his artistic work along with fundamental themes of human existence, or Jeffrey Shaw's »Virtual Sculpture« (1981), representing early experiments in augmented reality, form a small selection of examples here. 

At the same time, the exhibition also makes the socio-political context in which the works were created comprehensible, allowing for deductions and connections to the pressing questions of our time: Feminist works by earlier (media art) pioneers, such as pezoldo (aka Friederike Pezold), Lynn Hershman Leeson, Kirsten Geisler, or Rebecca Horn, are just as noteworthy as works reflecting the impacts of mass media like television (Nam June Paik, Wolf Vostell), the connection between technology and the military, borders and surveillance, or violence in the digital space (Paul Garrin, Hanna Haaslahti, David Rokeby) or natural ecosystems (Justine Emard, Claudia González Godoy). Artists repeatedly question the possibilities and effects of new media, rethink and redesign them, thus bringing forth new social and cultural narratives that shape the discourse about our relationship with technology. 

We perceive art, as the exhibition title suggests, as a story that will never end as long as there are people. The fact that we do not know what form it will take in the future is something it shares with technology. Our knowledge of the past and present influences how we shape the future and value what is yet to come.

The restoration of media art

„The Story That Never Ends“ not only refers to artistic development but also to the challenges museums face when collecting media artworks: Technical devices are not made for eternity, data carriers deteriorate, software standards become obsolete very quickly, and media formats are no longer readable after a few years. This means that works must continuously be monitored and technically updated by conservators. What impact does this have on art and our cultural memory? What skills do we need to develop to not only have a future but also a past?

The ZKM has an internationally recognized expertise in the conservation and restoration of media art. However, since these conservation and restoration activities mostly happen behind the scenes, »The Story That Never Ends« takes a radical step: The decision about which key works from the collection are shown in the exhibition has been entrusted to the conservators of the ZKM. In doing so, they bring hidden treasures to light that have, due to elaborate preservation measures, often not been publicly visible for decades. Since the works themselves do not necessarily reveal the complexity of their technology and the challenges of their preservation, the exhibition also provides an introduction to the history of technology and conservation strategies for this type of works.

The view from the past into the future

»The Story That Never Ends« thus not only tells the fascinating story of media art through the unique collection of the ZKM. It also highlights the fragility of our electrified and digitalized civilization. The exhibition allows for an in-depth insight into the art and technology history of the 20th and 21st centuries and shows how history sharpens the view of the present and stimulates the imagination of possible futures.

Wed to Fri: 10 am to 6 pm
Sat, Sun: 11 am to 6 pm

The fairy tale of the Puss in Boots tells the story of a young miller's son who seemingly stands empty-handed – until his talking cat turns out to be an unusually clever and resourceful helper. With ingenuity, courage, and imagination, the two manage to overcome obstacles and take their fate into their own hands.
The production combines humorous and fairy-tale elements and playfully conveys values such as self-confidence, responsibility, and the importance of solidarity. Children experience that with creativity and an open heart, they can explore new paths and actively shape their own world.

Admission: 09:30 AM

Tickets can only be booked through us via email at karten@naturtheater-renningen.de

Play based on the novella of the same name

Adaptation for the Kreuzgangspiele by Johannes Kaetzler.

In the villas and houses along the shores of a coastal bay, fascinating worlds of life unfold. A fabulously wealthy young man stands at the center of the action: Jay Gatsby. He is mysterious and the subject of wild rumors. Why does no one get close to him?

Not far away, a young athletic couple resides in an elegant villa by the beach. Are they really as likable as they present themselves? In between, there is a tiny house with a young resident who is trying to get rich through stock trading. Is he as friendly as he seems? And what about the attractive woman who is married to a car dealer?

Fate brings all these people together. In a dizzying series of events, their secrets are revealed, and a gigantic panorama of human passions unfolds.

The staging of the famous novel material on the Kreuzgang stage ignites a theatrical fireworks display about the wild twenties of the last century with much music and very big emotions.

Entry: 20:00 Uhr