A shadow hangs over Namibia–– and not just because of the low-hanging sun over the picturesque Etosha salt pan. Despite all the romanticism surrounding the desert, peace remains elusive even in the wake of the return of the looted artworks to the former German colony. The relationship with those who erected the first German concentration camps is anything but resolved.

A mighty festival on the island of Ingøy in northernmost Norway unites audiences and dancers under Arctic skies. Not far from the Russian border, the theatre is celebrating the landscape. Among us: Hans-Thies Lehmann, the late doyen of post-dramatic theatre. For him, landscape was both the adversary and the centre of theatre. A festive description and a last text by him.

Burkina Faso is one of the poorest countries in Africa and indeed the world. Despite a recent military coup, it is the venue for a dance festival that allows guests to gain deep insights into the mentalities of the African dance scene. On stage, people argue, dance, and forge new partnerships. Europe has funded this festival – so that it may approach the scene on an equal footing.

Millions and millions of kilometers of yarn are unwound unremittingly from bobbins worldwide – in the myriad textile and sewing factories on this earth. Mechanically speaking, bobbins perform an almost endless pirouette. The human body follows exactly the same principle.

Theaters like to be the good guys in three ways: Good for the citizen. Good for culture. And good for the zeitgeist. Being good is part of the essence of theaters; they do not want to be accused of being racist or of not being really climate-neutral. But does this fit the reality within the institution itself? The case of Raphael Hillebrand casts doubt on this.