Season 2023/24
Season 2022/23
Schwärmen Directed by: Kirsten Burger
EIN SPORTSTÜCK Directed by: Höhne, Glanz, Kuhlmann, Rieck, Strassenberg, Witt
Billy Backe Directed by: Jorinde Dröse
Anwälte der Natur Directed by: Frank Raddatz
Einer flog über das Kuckucksnest Directed by: Leander Haußmann
Season 2021/22
The Rats (Die Ratten) Directed by: Lilja Rupprecht
Golem Directed by: Jacob Höhne
Mujer Directed by: Sara Lu
Season 2020/21
hoffnung#dasdingmitfedern Directed by: Sandra Rasch
Geh, Fühle! - Tanztheater Directed by: Sandra Rasch/Oana Cirpanu
Der  Drache Directed by: Matthias Mosbach
Season 2019/20
Hi Freaks VI Directed by: div.
Hi Freaks V Directed by: div.
Lulu Directed by: Jacob Höhne
Season 2018/19
Directed by: Sandra Rasch
ghostdance Directed by: Andreas Spechtl & Thomas Köck
Don Juan Directed by: Konrad Wolf
Antigone Directed by: Lilja Rupprecht
Hi Freaks I-IV Directed by: div.
Heroes Directed by: Sara Lu, Rubén Nsue
Rausch Royal Directed by: Jacob Höhne
Noises Off! (Der nackte Wahnsinn) Directed by: Jacob Höhne
Season 2017/18
Dekameron Directed by: Thomas Bo Nilsson, Julian Wolf Eicke
Moby Dick Directed by: Jacob Höhne
Die Frauen vom Meer Directed by: Lilja Rupprecht
Die Nibelungen Directed by: Jonas Sippel
Die Räuber Directed by: Jacob Höhne
Pension Schöller Directed by: Jacob Höhne
Season 2016/17
Schwestern Directed by: Jacob Höhne
König UBU featuring Craque Directed by: Jacob Höhne
DADA Divas Directed by: Gisela Höhne
Der gute Mensch von Downtown Directed by: Gisela Höhne
Philoktet Directed by: Jacob Höhne
RambaZamba Theater Schönhauser Allee 36–39 10435 Berlin
info@rambazamba-theater.de +49 (0)30 585836700
© 2024

Reason and irrationality are strictly separated in our system – a system that favors those who are “intact”, decisively take correct action, are well-mannered and successful, and feel at home in a capitalist economy. In fact, reason and irrationality are considered to be a threat to each other in such an environment. We live in a world that has been rationalized through and through, a world in which irrational people are always considered to be crazy. They are referred to as “crazy” because their irrationality shifts the perception of perfection onto a path that is undesired, to say the least.

Die Räuber and their leader, Karl Moor, are the “crazy” ones here – the irrational ones. More specifically, they are the ones who are sick and tired of partaking in the privilege, so to speak, of living in a pseudo-liberal, capitalist society of reason and rationality. The robbers thus indulge in wantonness, gluttony, slowness, and inefficiency. They represent an escalation of the punk culture and non-conformism. They will literally stop at nothing to be free and create a society that corresponds to their beliefs. The radical and inhuman means they are willing to use to achieve this end are similar to the methods employed by Karl’s brother, Franz Moor, who having been denied the love of his father his whole life has become a liar, a schemer, and a murderer.

DIE RÄUBER comes across as an attack against a world in which love and freedom may not be allowed to stand in the way of profit. The play juxtaposes two worlds. The first is the world of the “establishment” in the palace occupied by the Moor patriarch, his younger son (Franz), and Amalia, who both brothers are in love with. Amalia embodies the principles of love and emotion, which don’t stand a chance in the world she lives in. The other world is occupied by the “crazies”: the rebels and their leader, Karl, who have been robbed of their freedom but then become robbers themselves.
What follows is a battle, supposedly in the name of freedom, but it’s a battle driven by jealousy, loss, and hate. In the end, the only thing that remains is a decision to be made between freedom and death. Everything else is just silence.

The recommended age for audience members for this production is 16 years or older.

With Juliana Götze, Sven Hakenes, Christian Behrend, Lioba Breitsprecher, Heiko Fechner, Moritz Höhne, Hans-Harald Janke, Jennifer Lau, Franziska Kleinert, Dirk Nadler, Joachim Neumann, Sascha Perthel, Hieu Pham, Zora Schemm, Rita Seredßus, Sebastian Urbanski, Aaron Smith, Jonas Sippel, Nele Winkler, Michael Wittsack, Gisela Höhne, Almut Zilcher, Claudia Burckhardt, Johanna Peine, Antonia Bill
Bühne Thomas Bo Nilsson, Julian Eicke Kostüme & Maske Beatrix Brandler Chorleitung Bernd Freytag Musikalische Leitung Leo Solter Dramaturgie Kristina Ohmen


"So, wie Pascal Kunze die Kanaille Franz spielt, ist der ungeliebte kleine Bruder auf beklemmende Weise überzeugend: rührend linkisch und lügnerisch böse, besserwisserisch dozierend und übereifrig plappernd; ein Zerrissener mit einer Gestik, die zugleich fahrig und großspurig ist und nie zur Ruhe kommt. Wer diesen Theaterabend gesehen hat, dem wird es schwerfallen, sich Franz Moor jemals wieder anders vorzustellen." Frauke Adrians, nachtkritik