The Germans do love their theater, and the annual roundup of the ten best German-language theater productions of the past year, called Theatertreffen, always promises to be a thrilling opportunity to sample the current climate in the theater and the world at large.
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There’s a marked element of excess thought surrounding this adventurous ten-day Berlin festival of “moderne” composition. Its schedule is loaded with afternoon discussions, panels, laboratories, and general conceptual wrangling, but much of the evening performances are emphatically visceral, jagged, unpredictable, and disobedient toward implied traditional staging requirements of new works.