Are you still deeply in love with theatre or are you stuck in pandemic routine? What is our relationship with theatre? What are you looking for as a spectator? What are your expectations?
For one week, a group of 15 people met at CFB to attend the experiment of watching digital theater festivals together and address these questions. What makes the group unique, is the desire to leave their comfort zone and recreate the theatre setting in an unknown form. With Publicumstreffen they invite to share their collective experience.
A production of the CFB, with kind support of the DFJW.
Thomas Kellner was born in Romania in 1981, studied theater & media at the University of Bayreuth, acting at the Anton Bruckner University in Linz in Austria and in 2006 at the Conservatoire National Supérieure d'Art Dramatique in Paris. In Germany he works at the municipal theaters of Münster, Krefeld, Bremerhaven, Frankfurt, at the Stuttgart Opera, freie Szene Berlin, etc. In France at Théâtre Ouvert, Studio-Théâtre of Comédie Française, Théâtre de l'Opprimé, Théâtre de Nanterre-Amandiers and in 2011 at the National Theater of Tehran. Together with Mathieu Huot, he undertakes research on the role and place of spectators in the Festival d'Avignon, Berlin Theatertreffen and the Performing Arts Festival Berlin. Since 2017, he has been creating music theater pieces with Aleksi Barrière at the Maison de Radio France, Helsinki Opera, Oslo Philharmonic, Stavanger Symphony and Orchestre National des Pays de la Loire at Lieu Unique in Nantes.
Mathieu Huot can not sit still, on the edge of theater, performance and cabaret, he oscillates since 2005 between the independent scene and an elite career: graduate of the prestigious Sciences Po Paris, Conservatoire National Supérieure d'art dramatique, FIAC, National Theater Chaillot, Fondation Cartier, Pippo Delbonno, Matthias Langhoff, Dora Garcia, Théâtre La Loge, Cabaret le Secret. Founder of the Compagnie Mahu (2008) and of the Collective Open Source (2014), he increases his field of experience and perspective to question his artistic practice: directing, acting, cabaret, performance, teaching, artistic research, authorship, dramaturgy. He focuses in particular on the role and place of the spectator and multilingualism in theater.