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German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach's background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have interacted with this new technology and how filmmaking can be an integral part of the theatre indicate clearly that filmmaking has played an invaluable role in recent theatre history. Speckenbach here also speaks of his collaborations with other directors, notably Sebastian Hartmann and René Pollesch, and about the future perspectives of this technology, which has changed the theatre altogether. Jan Speckenbach studied art history, philosophy, and media in Karlsruhe, Munich, and Paris during the 1990s. At the beginning of the new millennium he participated in the development of video theatre with Frank Castorf and, now a successful filmmaker, he also continues to work in the theatre. His short film Gestern in Eden [Yesterday in Eden] premiered at Cannes in 2008, while the full-length feature film Die Vermissten [The Missing] was shown at the 2012 Berlinale and Freiheit [Freedom] at the 2017 film competition at Locarno. In 2020 he directed the live-stream of Der Zauberberg [The Magic Mountain, after Thomas Mann's novel] at the Deutsches Theater in Berlin (premiered online in November 2019), which was subsequently invited to the Berlin Theatertreffen. Thomas Irmer is the editor-in-chief of the Berlin-based monthly Theater der Zeit. He has co-edited two books on the work of Frank Castorf – Zehn Jahre Volksbühne Intendanz Frank Castorf (2003) and Castorf (2016). During the last forty years he has authored, among other significant writings, numerous analytical articles and interviews on Castorf's creative output. [ABSTRACT FROM AUTHOR]

The article presents a report from a June 11-13, 2015 conference in Oranienburg and Berlin, Germany on German and Polish memorials to Nazi war crimes hosted by the Sachsenhausen memorial and museum as well as the Berlin center for historical research at the Polish Academy of Sciences. Topics of presentations delivered Polish and German collective memories of the 20th century, the design and construction of verious sorts of memorials, and the use of an augmented reality system at the Bergen-Belsen concentration camp memorial.

The article provides information on the emergence of documentary theatre in Germany. The genre was introduced in the 1960s, as represented by the works of Peter Weiss, Heinar Kipphardt and Rolf Hochhuth. The subject matter of the plays were related to various historical documents and were meant to open up public investigation of those controversial issues such as the position of the Catholic Church toward the Holocaust.

Focuses on the influence of Theater Der Welt festival on the theatrical innovations in Berlin, Germany. Coincidence of the festival with the final move of the ministers from Bonn to Berlin; Contributions of Italy, Argentina, Australia and America to German theater; German perception of American alternative theater.