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Theater im Bahnhof is one of the largest independent theater ensembles in Austria. This collective of around 20 artists has been creating radical work and daring productions for over fifteen years.
Theater im Bahnhof is a contemporary Volkstheater (popular theater) which finds itself waking up between the forces of Tradition and Pop. While we always have the resources of Austrian literature and history, topics and archetypes, they must naturally be thrown into our modern society, examined, argued with and made to prove themselves. Nothing is assumed finished, as you
can never stand in the same city twice.

Repertoire for Tough Times

  • 8790... und Hoffnung auf immerdar! (8790... And Hope Will Never End!)
    A kind of weird talk show, in which we present the "making of" of a TV format. The film was made in the summer of 2011 in Eisenerz, a small town of long-gone prosperity in the Styrian mountains. A Love-Match TV show is designed to bring unmarried men and women into this region that is threatened by depopulation. The show is about promotionalmeasures, about desperate regional attempts at revival, about historical events. We tell about the rise and heyday of the former region, and political aspects of future scenarios. Depressive and the same time entertaining.

  • Zu Gast (Be My Guest)
    2 guests from Graz, 2 tables, 2 desk lights, 2 mics and 110 questions on cards, 30 minutes for each guest, a friendly but merciless interviewer, a concentrated private atmosphere and a glimpse into the mentality of a city.
  • Alle unsere Lieder (All Of Our Songs)
    Our songs: Detached from their shows and at the same time social documents of our long history in town. From the political song to a tender goodbye ballad, from chants to a choir. We have more than 100 songs in our repertoire!
  • Es wird Blut fließen (There Will Be Blood)
    In "There Will Be Blood" we compare the reality of a theater evening with the reality of a small investment in the financial markets. We know that the bank does not mirror reality, but a closed system that is dependent on us and our confidence. But who can guarantee that in the end there will be a climax, and that we can get out of the investment at exactly the right moment, so that all our investment was not for nothing?

  • Ich durfte am Tisch der Götter sitzen. (I Was Allowed To Sit At The Table Of The )
    With Andreas Kiendl
    Andreas Kiendl, well-known TV-series hero and movie actor knows the ups and downs of the actor's profession. With Oskar Werner's famous last interview, he returns to the TiB again.

  • Verschwinden. (Disappearing)
    By Monika Klengel
    An actress disappears into a warm sweater. She really wants to make herself comfortable on stage, she wants to disappear for all the audience to see. As she dances a little, she sings a song and reflects about the fact that vanishing into thin air may also easily develop into "being forgotten by society".
  • Belmondo mon amour (Belmondo Mon Amour)
    It's about love. About love of the cinema. About love without cinema.
    Love in life. Life without love. The movie "Pierrot le Fou" (1965,directed by Jean-Luc Godard) is transformed into a personal, intriguing theatrical remake by Lorenz Kabas and Martina Zinner. A movie on a live stage, an evening about love and all that sh**.
  • Bette Davis Eyes (Bette Davis Eyes)
    A woman invites us into a room to tell about her favorite movies and about her biography. These films are movies that nowadays run only on special occasions in the cinema or at inappropriate times on television. The stars of the films are like good old friends who accompany life as well as the big and little events of daily politics. In between, she sings a few songs. Often, life is a movie.
  • Im Bügelzimmer brennt noch Licht ? die Konsequenz heißt Liebe!
    (There Is Still Light In The Ironing Rroom - The Consequence Is Love!)
    He tries text. She tries clothes.
    The ironing room as an intellectual and practical heat exchange.
  • Kollegium Kalksburg. Christmas Concert
    Kollegium Kalksburg refine the traditional form of the Wienerlied in their own way. Highly competent, they play various styles. The humor of this highly musical trio is clearly and deeply subversive. They work with cliches which they break, they are not primarily political but tell universal stories by which their attitude becomes even clearer.
  • Game of Death! With Jacob Banigan
    Who are we expecting at the door? When will Death come? How much of this performance is predetermined? Does it all come from the moment, able to flow in any direction; or is the performer merely following the dots? Filling in the blanks? Fulfilling a destiny? We may promise something initially, but the turn of a card can change our plans. Sing a love song. Study Kung-Fu. Discuss.Jacob Banigan creates a new format, his first solo, in which the audience is complicit in the dramaturgy of the show. Theatrical resources are laid bare in the beginning, and the accidental random elements of the evening give us our form. The content may become precious to the audience and performer, but it may also be destroyed.

 

  • Time To Get Ready For Love Song performance
    What songs define our lives? What was the song of our first love, our first kiss? The first time we were left? The first existential despair? The second love?
    Four forty-something men write memories on record covers. They look for words, stammering perhaps, and when they quote titles or lyrics, their English sounds Styrian. But these covers mean a lot to them, they are part of them. United in the belief that a song still says more than anything else. But there is no music on this evening. Just words, words, words. And we hear the melody in our own memories.

 

  • Autogespräche (Car talks)
    Two women who hardly know each put themselves together in a car and drive for twelve hours round the same course through the city. Not even the two of them can know how things will develop. Only one thing is certain: They will talk to each other and these discussions will continue and change throughout the day. The volume of traffic, being so near to each other in the car the whole day, the fatigue and not least the weather are finding their way into their speeches. The talks are transmitted to the outside. In a parked car and on live stream, we can keep track of what is happening between the two women drivers.
  • Husband. By Ed. HauswirthInspired by Cassavetes' film Husbands, Ed Hauswirth develops a one-man-performance at the interface between the personal and the public. On a street, watched by distant observers, he shows a dance with biography, full of longing and stubborn. In his mid-forties he faces the same questions as in ?Husbands?, a film of the sixties: Have we been doing the right thing? Do we want that at all? What if this would be our last day?

 

  • Einschlafgespräche (Falling Asleep Talks) A landscape between sleep and being awake. It's late at night. There are three tents in which people are talking softly and intimately to each other. The audience can listen to them while they are falling asleep. These ?falling asleep talks? have the consolation of a common narrative. The audience will become witness when intellectual barriers fall, when day-residues mingle with wild associations, dream imagery with everyday occurrences. In a maximally relaxed attitude, at the moment of physical loss of control due to fatigue, unprepared first-person narratives arise. Until everybody is asleep.
  • Alles was der Fall ist. Traumprotokolle

    All That Is The Case. Dream journals.

    Beautiful women in old nightwear telling dreams. You can listen to them for hours, but you can also go to the bar, have a drink, smoke a cigarette. From time to time they face personal questions. They are merciless. A universe of desires and delusions, assertions and reflections will be kindled. Actor fears, nightmares and dreams form the narrative foundation of this work. The parameters of this durational format are simple, but chance determines what happens.

    The show was conceived together with Robin Arthur (forced entertainment).