Post types
Post types
The CEC started its reform process in November 2022. CEC - Central European Committee - was and is a region of the World Amateur Theatre Association AITA / IATA. It includes the countries of Russia in the East, Ireland in the West and Israel in the South, and beyond.
The deadline for the submission of entries extended to 16 December 2022. More information:
How is it possible for (young) people to become aware of their strengths within the scope of theater pedagogy measures and cultural youth education in general? How can they become aware of their relationship to others and to the world in order to be able to actively shape it?
In wake of the "#MeToo"-movement the previously mostly ignored field of intimacy coordination gained traction and relevance. Its ideas and techniques have since moved beyond merely safely staging scenes of physical intimacy and sexual intercourse.
Sexualised violence does not just happen - perpetrators plan it. Therefore, the protection of children and young people must be planned in order to minimise the risk of sexualised violence in cultural education for children and young people.
Born in Berlin, Selen Şahinter has lived alternately in Germany, Spain and Turkey since childhood. She is currently studying law at the Free University of Berlin. It is important to her that the issues of gender equality, women's rights, racism, LGBTQJ+ etc. are addressed and thematised.
Werner Bolzhauser is the founder of the Esslingen-based association "Kultur am Rande", which has been offering homeless and stranded people a stage in the Alte Spinnerei in Esslingen for 25 years. Kultur am Rande e.V. sees itself as a cultural rallying point for all social groups whose cultural skills are given little or no consideration in the recognised and funded cultural sector.
"Everyone has the right to liberty and security". That's what Article 6 of the German Basic Law says. What does this mean for theatre? We should address this question from many and worldwide perspectives.
This type of swordsmanship was practised in Europe from the 14th-17th centuries. The longsword was a popular weapon in the late Middle Ages.
At the same time, we would like to use this closing event as a prelude to further peaceful and constructive cooperation between artists from all over the world.
Compañía LA MONA ILUSTRE, Santiago de Chile/ Chile Juan Salvador works as a stagehand in a theatre. He tidies, tidies and tidies. HE tidies a dressing room, handkerchiefs, cotton, brushes…Juan...
Music, dance and movement as an expression of meaning in theatre. Music, dance and theatre are a universal language of expression. They know no boundaries, no race and no gender. In this workshop, Nkululeko Innocent Dube takes the participants on a journey to explore ways of expressing the emotions, the themes and messages in theatre using movement, music and dance.
Taking its name from the poem by Palestinian writer Mahmoud Darwish, I see my ghost coming from afar is a journey into a parallel world. A world populated by a...
IYASA, Bulawayo, Zimbabwe “Voices of Change” is a music and dance theatre piece that seeks to challenge the status quo in this world. The peace is told through the voice...
Facilitator: Valentina Escoza, Compañía La Mona Ilustre, Chile The artists from the chilien group La Mona Ilustre offer artistic workshops aimed at creators, artists, directors and technicians related to the...
Facilitators: Lama Amine, head of arts Seenaryo Beirut/ Lebanon Creating safe spaces is a workshop led by Seenaryo’s Head of Arts Lama Amine. In this workshop Lama will delve into...
In the production by the Israeli director and actor Dori Engel, the two hostile families of the Capulets and the Montagues, and thus also the two main roles, are portrayed by 10 Palestinian and Jewish actors.


Festival 2022

From 13 to 16 October


Theaterwelten is a festival and a network of the international amateurtheater at the same time. The festival is hosted once every two years. Six performances from Africa, Latin America, North America, Asia, Australia, Oceania and Europe stand for the encounter of the worlds of theater on eye level.
Theater makers from all around the world give practical insights in their theatrical narrative forms and playing techniques in sic workshops. A symposium explores global questions of theater in a world in transition. The network will be further linked digitally. There is room for news, information, collaboration, reflection, research, pictures, ideas, old and new perspectives.
Theaterwelten sees theater as social force, theater as transcultural diversity, theater in global and local perspectives. Dialog is open for new partners, individuals, groups and festivals, for new ideas, different perspectives, familiar and unknown – all around the world.
Theaterwelten are many.
Boards that mean the world. What turns out to be foolishness today seemed possible in Shakespeare’s time: to grasp the world as a unity, that can be captured from a single, the european, perspective. Politically and economically we already live in the awareness of globalization. But speaking of culture, the hybrid concept that Europe is the middle of the world still comes to mind. Europe, so the claim, is the own and outside of Europe is the foreign. This is especially true for our meaning of Theater. That’s how we train and develop and that’s how we measure the quality of a theatrical performance. Theory and practice of the so called european Theater are the scale and fixed star of our judgement. With Theaterwelten we want to release ourselves from that fixation.

Theaterwelten wants to open the view for the diversity of theatrical forms. Concrete and active experience enables an understanding of other theater terms and other meanings of theater in the regions of the world. Central to us is the trio of experience through performances, acting in joint workshops and reflecting in the symposium.

The aim and principle of Theaterwelten is the encounter of the supposedly own with the foreign on an equal footing: therefore six theater groups from Europe, Asia, Africa, Australia and Oceania (as well as the two Americas) are invited to shape the festival on an equal footing (1 workshop, 1 performance).

Theaterwelten stands for an expanded concept of theater work. It’s about how we understand social and cultural processes in their diversity and how we respond to them. The understanding of theater cannot be limited to aesthetic categories, but has to include political and social criteria. Theater is a social force.

A concrete, culturally shaped worldview emerges in theater. In their cultural diversity, the forms of theater in the world regions create a heterogeneous understanding of the world. Theaterwelten enables people to sustainably achieve new approaches and participation in global, cultural diversity. Our vision is to find partners for Theaterwelten in many places in order to build up a sustainable network. In order not to let the thread of this network break, this platform will be continued on Theaterwelten. Here you can follow the latest, trace the past and shape the future. The platform is a forum for everyone who wants to participate.



Theaterwelten is a project of the International Office in the Bund Deutscher Amateurtheater e.V. It stands for the joint work on a sustainable transcultural theater network. Theaterwelten promotes these processes through the digital platform, the festival of the same name, the support of game encounters, the exchange of skilled workers and cooperation with international partners.  

Darina Startseva

Stephan Schnell


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HINWEIS! Die Workshops finden parallel statt. Es kann für die Festivaldauer immer nur ein Workshop gewählt werden.
Die Teilnahmegebühr am Workshop beinhaltet ein Festivalticket, dass für den Besuch aller Performances und zur Nutzung des Festival-Caterings, bestehend aus Mittag- und Abendessen, berechtigt.