The word 'theatre' (theatron in greek) refers first and foremost to the place and architecture of a performance, rather than to what is being performed. Even after centuries, a theatre’s architecture represents the order from which it emerged: the possibilities for artistic production are historically conditioned. The discussions concerning the contemporary and future use of such spaces thus touches upon the very legitimisation of theatre and art. The geometrical space of architecture is pitted against the anthropological space of its use.
Every era creates its state institutions according to its needs, every state creates its cultural facilities according to its perceived cultural and social responsibilities, and every cultural facility adopts the infrastructure it takes to be most adequate for its artistic and performative agendas.
But a society’s requirements and expectations with respect to artistic and theatrical production are subject to the same microphysical transformation(s) the society itself is undergoing. Conversely, performative methods and modes of expression have their part in shaping society and in particular urban development.
With varying degrees of flexibility, the institutions of culture and politics can adapt to such changes; buildings of stone cannot. The project staats-theater thus takes as its point of departure the brick-and-mortar remnants of a former theatre and examines their potential for future performative activities.