Project ACCESSIBLE THEATRE of the Münchner Kammerspiele

Within the framework of the funding programme “Cultural Mediation and Integration” of the Federal Government Commissioner for Culture and the Media, the project ZUGÄNGLICHES THEATER (Accessible Theatre) of the Münchner Kammerspiele will receive a three-year grant of up to 300,000 euros as one of six model projects selected nationwide.

Gro Swantje Kohlhof is awarded the Bavarian Art Promotion Prize 2020

Today, Thursday 10 December 2020, Gro Swantje Kohlhof will be awarded the Bavarian Arts Promotion Prize 2020.

Mourning Peter Radtke

The Münchner Kammerspiele mourns the death of Peter Radtke. Peter Radtke, who appeared in several productions at the Münchner Kammerspiele in the 1980s, died on 28 November 2020: In 1985, George Tabori engaged him for his Medea version “M” after Euripides. In 1986 he appeared in George Tabori’s Beckett production “Happy Days” and in Kafka’s “A Report for an Academy” directed by Franz Xaver Kroetz.

Lucy Wilke is the winner of the German Theatre Prize DER FAUST 2020

Lucy Wilke and Pawel Dudus have been awarded the German Theatre Prize DER FAUST 2020 in the category “Performer Dance” for “Scores that shaped our friendship”. Congratulations!

Deutscher Bühnenverein • 21.11.20

For the second time in a row, the Münchner Kammerspiele and Matthias Lilienthal’s team have been voted number 1 - and thus Theatre of the Year - in the critics’ survey of the magazine “Theater heute”.

We congratulate Matthias Lilienthal, his team and all the staff of the Münchner Kammerspiele on this success. Congratulations!

Der Theaterverlag
MK: We are back from the summer break

We are back from the summer break and are planning the start of the season with anticipation and with all our might. We want to open the venues for you and for us.

MK: Update 1

Münchner Kammerspiele is the theatre of the city. An aesthetic organ, a social organ, an organ that seeks to extend freedoms. We enable social exchange, open up perspectives, narrate stories unheard. And we ask for new responsibilities in theatre: Who speaks, who decides how and which things are being told?