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Lutz Hubner

LUTZ HUBNER   (1964 - )

Nationality:   German    Email:   n/a   Website:   n/a

Literary Agent:  n/a

Lutz Hubner was born at Heilbronn in 1964. After studying German, philosophy and sociology at Munster University, he trained as an actor at the Saarbrucken Staatliche Hochschule. He then worked as an actor and director in Saarbrucken, Aachen, Neuss and Magdeburg. Since 1996, he has worked as a freelance writer and director. He lives in Berlin. Recent plays include Das Herz eines Boxers (Heart of a Boxer) (1996), Creeps (2000), Hotel Paraiso (2004) and Ehrensache (Respect) (2005). In 1998, he won the German Youth Theatre Prize for Heart of a Boxer.

Adaptation / Translations of Plays by Lutz Hubner

LUTZ HUBNER  

Europa

1st Produced:

Zekaem(ZKM), Zagreb, Croatia

Apr 2013

Organisations:

Birmingham Repertory Theatre, Teatr Polski Bydgoszcz, Staatsschauspiel Dresden and Zagreb Youth Theatre

1st Published:

Bloomsbury Methuen Drama, London (2013)>>>

ISBN/ASIN:

978-1472527301

Music:

-

doollee no

#148749

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

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Genre:

Play/Drama

Parts:

Male

-

Female

-

Parts other:

large cast

Notes:

written by Lutz Hubner, Malgorzata Sikorska-Miszczuk, Tena Stivicic and Steve Waters

Europa

Join characters from across Europe as they struggle to make sense of their ever-changing countries. From a confused Arts funding panel in Brussels to a young couple suspected of being terrorists, a multi-cultural mix of 21st Century issues are explored in this satiric and savagely comic snapshot of European life. Post 9/11 paranoia, neo-fascism and a crumbling currency entwine in this exciting new production - the result of a unique collaboration between theatres in the UK, Germany, Poland and Croatia. the differing viewpoints and four languages have combined to create a must-see explosive exploration of a continent in crisis. This edition features both the multi-lingual and the English text, and has an introduction by the dramaturg behind the project, Caroline Jester.

Further Reference:

-


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PENNY BLACK  

Heart of A Boxer, The

1st Produced:

Arcola Theatre, 24 Ashwin Street, Dalston, London E8 3DL >>>

06 May 2004

Organisations:

n/a

1st Published:

I don't think it has been published. Try emailing Playwright or Agent where listed at top of page.

ISBN/ASIN:

-

Music:

-

doollee no

#125352

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

n/a

Parts:

Male

-

Female

-

Parts other:

-

Notes:

Original Playwright - Lutz Hubner. The Heart of a Boxer (Germany) - Theatre Cafe

Synopsis:

n/a

Further Reference:

-


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ZOE SVENDSEN  

Respect

1st Produced:

Birmingham: Rep The Door, England, EUR >>>

22 Apr 2010

Organisations:

n/a

1st Published:

in Theatre Cafe Plays One, Oberon Books Ltd (10 Nov 2008)

ISBN/ASIN:

978-1840028935

Music:

-

doollee no

#112957

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

Translation

Parts:

Male

3

Female

2

Parts other:

-

Notes:

Original Playwright - Lutz Hubner

Respect

Four teenagers take a day trip to Cologne. By the end of the night, their world has been turned upside down. One is dead, two are in police custody, and the fourth is recovering from stab wounds. And it is the job of Kobert, a police psychologist, to find out what has happened. Lutz Hubner's hard-hitting play about sexual attitudes, provocation and intercultural confusion, is based on the true story of an honour killing. Originally produced in Germany in 2005 this play was subsequently banned in 2006. With the ban now lifted this new production marks the UK premiere.

Further Reference:

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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.