Why is this elegant building called the “Marstall”? It doesn’t look like a stable. Well, here at the Bayerisches Staatsschauspiel – Marstall, appearances can be deceiving. This grand structure, designed by the renowned Leo von Klenze, was once the royal riding school in the early 19th century. Imagine the clatter of hooves and the swish of elegant riding habits as Munich’s elite gathered here. However, the tides of history, much like the fickle whims of fashion, brought an end to the Marstall’s equestrian days. With the fall of the monarchy, riding fell out of favor. This grand hall was repurposed as a museum, showcasing the opulent carriages of the former king. Sadly, World War II left its mark. The building was severely damaged, a silent witness to the destructive power of conflict. After a hasty reconstruction, the Bayerisches Staatsschauspiel – Marstall served a more utilitarian purpose, becoming a workshop and storage space for the state theaters. But then, a spark of creativity ignited a renaissance. By the late 1960s, a new generation of artists sought spaces for their experimental works. They craved a stage where convention could be challenged and innovation celebrated. The Bayerisches Staatsschauspiel – Marstall answered their call. In 1971, its potential as an experimental theater was recognized. A year later, it was reborn, its stage once again a platform for artistic expression. The opening production? “Globales Interesse” by Franz Xaver Kroetz, a fittingly bold statement for a venue embracing the avant-garde. The Bayerisches Staatsschauspiel – Marstall continues to be a haven for innovative theater, a place where artists can push boundaries and audiences can experience the thrill of the unexpected.
Центральный дом работников искусств
Step through the grand wooden doors of the Central House of the Workers of Art, and you’ll be transported to