“Final stop America” in Santiago de Chile, “Master and Margarita” in Moscow, “Pension Schöller: The battle” in Belgrade, “Demons” in Paris – Frank Castorf’s transhistorical and transgraphic aesthetics have been theatrically inspired by the mother ship Volksbühne through regular guest appearances, Influenced critics and artists around the world. But how is his thinking and staging of “unique realities” located in the context of other aesthetic, cultural and above all also political-social contexts? How do his literary adaptations affect a Russian audience? How does his wild, existential, most free acting theater on directors in China? What mental tips does he set? Which aesthetic?
