Stückemarkt: Jury 2019

Mette Ingvartsen
© Danny Willems

Mette Ingvartsen

Choreographer and dancer – Brussels, Belgium

Mette Ingvartsen is a Danish choreographer and dancer. Her work is characterised by hybridity and engages in extending choreographic practices by combining dance and movement with other domains such as visual arts, technology, language and theory. An important strand of her work was developed between 2009 and 2012 with “The Artificial Nature Series”, in which she focused on reconfiguring relations between human and non-human agency through choreography. By contrast her latest series, “The Red Pieces” (2014–2017) inscribes itself into a history of human performance with a focus on nudity, sexuality and how the body historically has been a site for political struggles. She established her company in 2003 and her work has since then been shown throughout Europe, as well as in the U.S, Canada and Australia. She has been Artist-in-residence at Kaaitheater in Brussels and Volksbühne in Berlin, as well as associated to the apap-network.

Ingvartsen holds a PhD in choreography from Stockholm University of the Arts and graduated prior to that from the performing arts school P.A.R.T.S. - Performing Arts Research and Training Studios in Brussels. Besides performing, writing and lecturing, her practice includes teaching and sharing her research through workshops with students at universities and art schools. She has collaborated and performed with Xavier Le Roy, Bojana Cvejić, Jan Ritsema and Boris Charmatz, as well as invested in collective research projects such as the artist platform EVERYBODYS (2005–2010), the educational project “Six Months, One Location” (2008) and the performative conference “The Permeable Stage” (2016 – ongoing).

Branden Jacobs-Jenkins
© John D. and Catherine T. MacArthur Foundation

Branden Jacobs-Jenkins

Playwright – New York, USA

Branden Jacobs-Jenkins is an American playwright drawing from a range of contemporary and historical theatrical genres to engage frankly with complicated issues around identity, family, class, and race. He received a B.A. (2006) from Princeton University and an M.A. (2007) from New York University, and he is a graduate (2014) of the Lila Acheson Wallace American Playwrights Program at The Juilliard School.

His plays have been performed at such venues as the Signature Theater, The Public Theatre, Lincoln Center, Soho Rep., Yale Repertory Theatre, Actors Theater of Louisville, National Theatre in London, Theater Bielefeld and Residenztheater, Munich.

Many of Jacobs-Jenkins’s plays use a historical lens to satirize and comment on modern culture, particularly the ways in which race and class are negotiated in both private and public settings. “Neighbors” (2010) includes performances reminiscent of historical minstrel acts performed by actors in blackface. These interludes lay bare the fraught expectations faced by black artists. "Appropriate" (2012) has all of the trappings of an ‘American family drama,’ but the familiar plot of a family brought together after a father’s death is disrupted by the discovery of a collection of lynching photographs among the deceased’s belongings. In the characters’ varied responses, past and present racial relations become a palpable presence on stage, despite an entirely white cast. In “An Octoroon” (2014), an adaptation of Dion Boucicault’s nineteenth-century play of a similar name, anachronistic acting styles, self-conscious references to the intrinsic artifice of theater, and jolting juxtapositions of the past and present demonstrate the enduring legacies of slavery and the ways in which people can live in close proximity and yet worlds apart. With “Gloria” (2015), Jacobs-Jenkins returns to the naturalistic play, using the biting satire of the comic drama to explore the stratified, competitive world of the modern workplace and its sometimes fatal consequences.

For his plays “Appropriate” and “An Octoroon” he won the 2014 Obie Award for Best New American Play. His plays “Gloria” and “Everybody” were finalists for the 2016 and 2018 Pulitzer Prize for Drama respectively. His recent honours include the Windham Campbell Prize for Drama, the PEN/Laura Pels International Foundation for Theatre Award, the Benjamin H. Danks Award, the Steinberg Playwriting Award, and the inaugural Tennessee Williams award and he was named a MacArthur Fellow for 2016. Jacobs-Jenkins is currently a Residency 5 playwright at Signature Theatre and Master-Artist-in-Residence in the Playwriting MFA programme of Hunter College. Together with Annie Baker, he also is a co-director of the Playwriting MFA programme at Hunter College, The City University of New York.

Amir Reza Koohestani
© Laetitia Vancon

Amir Reza Koohestani

Director and playwright – Tehran, Iran

Amir Reza Koohestani was born in Shiraz, Iran in 1978 and is considered to be one of the most important Iranian theatre makers of his generation. After a brief experience as a performer, he devoted his time to write his first plays: “And the Day Never Came” (1999), which was never performed and “The Murmuring Tales” (2000) which received critical acclaim in Tehran, during the 18th FADJR International Theatre Festival. In 2001 he founded the Mehr Theatre Group in Tehran, whose first piece “Dance on Glasses” brought Koohestani international recognition. After studying in Manchester, UK, for several years, he returned to Tehran where his creations have made him a major actor of the resurgence of theatre in his country. In February 2012, the movie “Modest Reception”, which script was co-written by Koohestani and Mani Haghighi, won the NETPAC Award at the Berlin International Film Festival 2012. Koohestani’s work has been shown in many European countries for the past 15 years. “Amid the Clouds”, “Timeloss” and “Hearing” (2015) have been shown in Iran, as well as at Kunstenfestivaldesarts in Brussels, Wiener Festwochen, the Oslo International Theatre Festival, Zürcher Theater Spektakel, Santarcangelo Festival in Italy or the Festival d’Automne à Paris, among others. Koohestani also staged several shows at German theatres, amongst them Münchner Kammerspiele, Schauspiel Köln, Theater Dortmund, Künstlerhaus Mousonturm and Theater Freiburg. He also directed Richard Wagners opera “Tannhäuser“ at Staatstheater Darmstadt. His plays are noticed for their poetic style and explore, with a critical symbolism, the everyday life of characters caught up in the turmoil of their environment. His upcomming projects include a short performance at Comédie de Genève in September 2018, an adaptation of “Macbeth” at Münchner Kammerspiele in December 2018, and an adaptation of “The Kitchen” by Arnold Wesker at Theater Freiburg, in May 2019.

Wiebke Puls
© Tien Nguyen The

Wiebke Puls

Actor – Munich, Germany

Wiebke Puls was born in 1973 in Husum and completed her acting education at the Hochschule der Künste Berlin. After graduating in 1997, she went to Schauspiel Hannover before joining the ensemble at Deutsches Schauspielhaus Hamburg in 2000, where she met Jürgen Gosch amongst others. For her achievements there she was awarded the Boy-Gobert Prize by the Körber Foundation in 2003. Since 2005 Wiebke Puls has been a member of the Münchner Kammerspiele ensemble. With “Die Nibelungen” (director: Andreas Kriegenburg, 2005), “Dunkel lockende Welt” (director: Sebastian Nübling, 2006), “Orpheus steigt herab” (director: Sebastian Nübling, 2013) and “Trommeln in der Nacht” (director: Christopher Rüping, 2018) she was invited four times to the Theatertreffen.

For her role as “Kriemhild” in “Die Nibelungen” she was honoured with the Alfred Kerr Acting Prize in 2005. In the same year she was elected “Actress of the Year” by the journal Theater heute. In 2008 she was granted the award of the Association for the Promotion of the Münchner Kammerspiele. In 2013 and 2018 she became second in the selection of “Theater heute” for “Actress of the Year”. In 2018 she was awarded the 3sat Prize for her acting performance in the production “Trommeln in der Nacht”, directed by Christopher Rüping, and her work at the Münchner Kammerspiele within the 55th Theatertreffen.

From time to time, Wiebke Puls stages her own productions and works with students. She likes to perform musical programmes and is a regular speaker. In addition to her numerous appearances on stage Wiebke Puls also starred in several film and television roles. From October 2018, she can be seen in Yael Ronen’s new production “#Genesis. A Starting Point” at Münchner Kammerspiele.

Maria Nübling
© Christoph Blaas

Maria Nübling

Dramaturge and director of Stückemarkt – Berlin, Germany

Maria Nübling has been a dramaturge at the Theatertreffen since 2017 and the Head of Theatertreffen’s Stückemarkt since 2018/2019. She was born in Hildesheim in 1989 and studied Drama Studies and Comparative Literature at Freie Universität Berlin. During her studies, she was a dramaturgy intern and assistant at Münchner Kammerspiele, Maxim Gorki Theater Berlin, Staatsschauspiel Dresden, PATHOS Theater in Munich and Schauspiel Stuttgart. Together with Christina Gassen, she initiated and organised the symposium “Theater.Frauen” in 2015, which addressed gender inequality in the theatre, and is co-director of the initiative with the same name. From 2015 to 2017, she was a dramaturgy assistant at Schauspiel Stuttgart, where she initially assisted in productions by Jossi Wieler, Schorsch Kamerun and Sebastian Hartmann, before working with Sébastien Jacobi, Thomas Schmauser, Armin Petras and Eugene Jebeleanu and curating a monthly discussion series in cooperation with the initiative “Die Offene Gesellschaft”.


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Database 1964-2018

The database with all productions, theatres and directors since 1964 as well as the Stückemarkt authors.