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Experiences of motherhood seldom match with the image conveyed by our culture and language. The ideal, unselfishly caring, endlessly patient and, what is more, happy mother – of course she doesn’t exist.

"This is a talent", was Kurt Tucholsky’s enthusiastic assessment of the Berlin-born author Irmgard Keun. Readers were captivated not only by her sense of humour but also by her extraordinary ability to translate life into literature.

Was tun, wenn wir uns nicht mehr darauf verlassen können, ob die Informationen, die wir tagtäglich sehen, „echt“ sind? Wie wird unsere Öffentlichkeit durch Algorithmen, Deepfakes und Bots beeinflusst?

Wie wird KI unsere Arbeitswelt verändern und wie lässt sich dieser Wandel gestalten? Wird der Einsatz von KI soziale Ungleichheiten verstärken? Liegt in ihr das Potential, uns von sinnloser Arbeit, den ungeliebten „bullshit jobs“, zu befreien?

Wer trägt die Verantwortung für die Veränderungen, die KI in unser Leben bringt? Die Konzerne, die sie entwickelt? Die Politik, die den gesetzlichen Rahmen verhandelt? Jede:r Einzelne? Nerds?

Astrid is a teacher and lives with Klara, her significantly younger partner. One evening, Mr Balderkamp, her boss, announces a visit to their home. Just an informal visit, perhaps with a glass of wine, but Klara is doesn’t like the sound of it.

In this drama, which Albert Camus began to work on in 1938 and which he repeatedly revised under the impression of European fascism, the playwright sketches the portrait of a politician unfettered by laws or morals.

For her stage adaptation of the relentlessly autobiographical six-part work "Min Kamp" by Norwegian author Karl Ove Knausgård, director Yana Ross has selected fragments from the first two parts "Sterben" (A Death in the Family.