ABSTRACT
At least in the German speaking countries, the theatre of the 1990s can rightly be characterized to a great extent as choric theatre. Some directors only created particular forms of choric theatre occasionally – such as Robert Wilson in his productions of Gertrud Stein’s Doctor Faustus Lights the Light and Saints and Singing (Hebbel Theater Berlin 1992 and 1997), Jossi Wieler in his production of Elfriede Jelinek’s Wolken.Heim (Schauspielhaus Hamburg 1993), Jan Lauwers in his production of the Needcompany Macbeth (Kaaitheater Brussels 1996) or Volker Hesse in his production of Urs Widmer’s TOP DOGS (Theater am Neumarkt, Zurich 1997). Others have created theatre that is exclusively – or almost exclusively – choric theatre, such as the theatres of Einar Schleef and Christoph Marthaler.
