Premiere in Josefstadt: Bernhard's 'Theatermaker' - scandals and power games!

Premiere in Josefstadt: Bernhard's 'Theatermaker' - scandals and power games!

On October 23, 2025, Thomas Bernhard's “The Theater Maker” celebrated its premiere at the Theater in der Josefstadt. Directed by Matthias Hartmann and with Herbert Föttinger in the lead role, the story about the tyrannical theater director Bruscon is being re-staged, which addresses both inherent criticism of the theater business and profound questions about the abuse of power. Föttinger, himself the director of the theater, is portrayed as a misogynistic power figure and has accepted the challenge of playing a character that mirrors him in a certain way.  nachtkritik.de reports that Hartmann describes himself in the program as an “intergenerational person” and focuses on this very issue of abuse of power.

Volker Hintermeier's stage design is also remarkable. The two-part stage reflects the protagonist's inner turmoil: on the left side, the audience sees a shabby event hall in a tavern, while the right side shows a gloomy room that symbolizes Bruscon's inner darkness. The role of Bruscon's wife is taken on by Silvia Meisterle, who comments on her husband's verbal attacks with her dance.

A classic with history

“The Theater Maker” has been considered a classic of post-war literature since its premiere in 1985 at the Salzburg Festival, which already caused a scandal back then. The then Finance Minister Franz Vranitzky and Education Minister Herbert Moritz reacted sensitively to Bernhard's provocative texts. Bernhard himself criticized the traditions of the theater and called for change in society. That's why the piece still has symbolic added value today, no matter what orf.at underlined.

Föttinger's portrayal gives the character of Bruscon an intensity that is noticeable in the audience's perception. In the final scene, Bruscon appears overwhelmed by his family, mutters the resigned words “As if I knew it” and falls to his knees, which can be interpreted as a powerful image of the failure of his authoritarian ambitions. Despite excellent acting performances, the applause after the premiere was rather muted, with a few boos, indicating the mixed reactions in the audience.

Background and context

The theme of abuse of power and authoritarian structures runs through the production. Hartmann criticized the fact that misogynistic tirades in Bernhard's texts are no longer acceptable today. He emphasizes that Bernhard's musical language is of great importance for the production. This critical examination fits into the debates about the role of power and gender relations in today's theater landscape. literaturhaus-wien.at also points out how Bernhard's works are intertextually connected and resonate with historical and social themes.

The piece not only points to interpersonal conflicts, but also criticizes the theater business itself. Föttinger will hand over his position to Marie Rötzer in 2026 and plans to withdraw from further directing work, while Matthias Hartmann wants to gain a foothold in Vienna again with “Immanuel Kant”. His return will be exciting, as the complexity of the characters and the critical approach to Bernhard's texts make it clear that the theater in der Josefstadt must continually redefine itself.