Experience culture. Poetry Slam in Hamburg

Das Kellertheater liest! (Ausschnitte zur Theaternacht)

The cellar theater reads: Highlights from our current and planned reading programs.

Das Luftschloss für alle (Offenes Format, ab 5 Jahre)

FUNDUS THEATER | Research Theatre is a children's theatre known for its innovations in participatory and research-oriented theatre and cultural education. A key focus is research with children, for which the Research Theatre received the Perspective Prize of the German States at the German Theatre Prize DER FAUST in 2023.

For our Theatre Night, we'll guide you through the theatre and behind the scenes in small groups. Discover the curiosities of our props department and take a look inside our workshop and wardrobe. You'll find that the theatre is more spacious than it appears and that a theatre operation involves many different areas of work. Of course, the technical team has also prepared a little theatrical magic for you.
We also invite you to the castle in the air outside on Children's Rights Square:

The Castle in the Air (Open format, ages 5 and up)

Air is always there, in us and around us, invisible, omnipresent, and indispensable. And yet we often consider it fleeting, almost unreal: A castle in the air – that's an impossible dream. A dreamer – that's a fool. Sometimes we forget about air altogether: A room filled with nothing but air appears empty to us.
The climate crisis is first and foremost a crisis of the air, and therefore perhaps also a consequence of having ignored the air for too long. It's time to build castles in the air and celebrate the air!
But how? Perhaps by saving CO2 and flying acrobatically through the air. Perhaps with wind and scent and clouds, or from the breath of trees. Or perhaps as augmented reality? In any case, with parachutes, inflatable rings, fog machines, and helium balloons. And what about the micro-creatures that live in the air?

The castle in the air was developed by a transdisciplinary group of children, artists and scientists: Sibylle Peters, Matthias Anton, Idgie Groffmann, Felix Jung, Nils Löfke, Ines Moreno, Julia Münz, Lydia Schultze-Heuling, Florian Tampe, Margaux Weiß, Christopher Weymann and children from the IVK classes 5-7 of the Louise-Weiss-Gymnasium.

The "castle in the air" emerged from the EU project SENSE.STEAM and was funded by the Edmund Siemers Foundation.

Der blaue Saphir (Ausschnitte zur Theaternacht)

A children's crime story from Hamburg

Two crooks and their fence are after a very valuable sapphire.

But they hadn't reckoned with the three kids from the gamer gang, who
bravely and cleverly plunge into the gangster milieu…

Der Frequenzsprung (ab 8 Jahre + Erwachsene)

A technical run-through for Hedy Lamarr

Many adults say: Children should go to the theater. Many adults also say: Children shouldn't spend long hours on the computer. That's strange, because adults themselves often spend long hours on the computer. That's why, in our new production, computer technology itself becomes the star of the show, and this is how we play it: You'll get a VR headset, and then you can decide for yourself how you want to experience theater.

• You can watch the performance normally in the theater.
• Or you can watch with VR glasses, and then you're right in the middle of the action on stage.

We'll tell you how computers really came about, and about five extraordinary pioneers whose ideas changed our (digital) world: Did you know that the history of information technology didn't begin in an American garage in the 1980s, but 200 years ago at a glamorous debutante ball? Or that we can connect wirelessly today because a great Hollywood diva once wanted to help end an even bigger war with her invention, the "frequency jump"? And that the most important inventors of information technology also fought for a just world and against racism, sexism, and homophobia?
The research theatre invites children and adults to rediscover our digital and analog world with VR glasses for everyone, state-of-the-art stage technology and even more theatrical magic.

FUNDUS THEATER/Research Theatre | Performance and Development: Brenda Alaís, Christopher Weymann | Programming: Aiden Rössler, Gloria Schulz, and Charlotte Wintgens from the Studio for Infinite Possibilities | Theatre Technology: Anni Rauh | Machinist: Hanno Krieg | Scenography: Tamari Chikvaidze | Synthesizer: Alva Borchers | Costume: Tamari Chikvaidze, Brenda Alaís | Music: Original compositions by Brenda Alaís, Johann Sebastian Bach's "Air" from the 3rd Orchestral Suite performed by Wendy Carlos | Outside-Eye: Hannah Kowalski, Sibylle Peters | Made possible by the inventions of: Ada Lovelace, Alan Turing, Katherine Johnson, Hedy Lamarr, and Wendy Carlos

Funded by the project fund for media and education from funds of the Authority for Schools, Family and Vocational Training.

Der jüngste Tag

Ödön von Horváth

Judgment Day

With Maria Anker, Hans Hansen, Sandra Kanthak, Tom Ludwig, Carla Ochmann, Ramona Pautz, Jarno Soukup and Timo Taniewski

Direction & stage Torsten Diehl, dramaturgy Cristiana Garba, video Mued van de Schlaaf music Murnau-Jessner-Bros.

Ödön von Horváth wrote *The Last Day* shortly before his death. He died in June 1938 – at the age of 36. The Reichspogromnacht in November, the war – he didn't live to see any of it. And yet his writings are permeated by it. Not as prediction, but as perception.

A train accident. Eighteen dead. And the question of what happens next. The focus isn't on the event itself, but on how it's discussed. The shifts in perspective. The small acts of exoneration. As if this already reveals how guilt is distributed—and disappears, without ever truly disappearing.

Der jüngste Tag

Ödön von Horváth

Judgment Day

With Maria Anker, Hans Hansen, Sandra Kanthak, Tom Ludwig, Carla Ochmann, Ramona Pautz, Jarno Soukup and Timo Taniewski

Direction & stage Torsten Diehl, dramaturgy Cristiana Garba, video Mued van de Schlaaf music Murnau-Jessner-Bros.

Ödön von Horváth wrote *The Last Day* shortly before his death. He died in June 1938 – at the age of 36. The Reichspogromnacht in November, the war – he didn't live to see any of it. And yet his writings are permeated by it. Not as prediction, but as perception.

A train accident. Eighteen dead. And the question of what happens next. The focus isn't on the event itself, but on how it's discussed. The shifts in perspective. The small acts of exoneration. As if this already reveals how guilt is distributed—and disappears, without ever truly disappearing.