Theatre with attitude

Tue Biering’s method of working with theatre is very much influenced by modern German stage directors such as Frank Castorff at the Volksbühne in Berlin.
He has worked with new drama and the classics, but in either case he makes the material his own by putting it together in a new, thought-provoking form – a form that stirs up controversy.  For example, in Europæerne [The Europeans], when he clips scenes from familiar classics. Or in his production of Come on, Bangladesh, which is based on a Danish classic, Elverhøj [The Elf Mound]: Underpaid actors are imported from Bangladesh to force the audience to take a position on the concept of outsourcing and, thus, on their responsibility to the people who bear the brunt of this practice. 

Biering’s style is known for its great, visual penchant for the universe and idiom of comic books.  The performances are fast-paced and, like modern cross-over theatre, move within many genres and styles. This is undoubtedly theatre with attitude. Often concrete political attitudes – though they are not presented pedantically on stage. Instead, the productions often have an ironic character, which leaves it up to the audience to figure out its own political position on the issue the art has raised - as art.

Since 2003, Tue Biering has been the artistic director of the Danish Royal Theatre’s intimate stage, Turbinehallerne. Here, with his regular team, he has created a cultural melting pot, making use of a German model. Regardless of who stages the productions, they are experimental and interpreted for today. There is also a nightclub in the foyer with actors as DJs, as well as debates, seminars and special events, such as live performances of Radio Drama pieces (a type of theatre with which Tue Biering himself has often worked and for which he has received awards).

Current Productions

Come on, Bangladesh
(2006)
To get the audience to take a personal position on the concept of outsourcing and the underpayment of workers in the Third World that is often the motive for it, Tue Biering imported a group of underpaid actors from Bangladesh to perform the Danish classic Elverhøj. 

Europæerne / The Europeans
(2005)
By clipping out scenes of war and violence from a wide range of great European classics, Tue Biering traces the bloody trail of European history.  Without judging it or condemning it – that is up to the viewer. 

Røverne / The Robbers
(2004)
Tue Biering cut Schiller’s classic radically – in terms of format and point of view.  In his staging, it was tightened into a drama of real violence between two brothers, who are fighting for the affection of their father and the love of a woman. Staged with a comic book’s visuality, sound effects and the dramatic use of violence and rawness.  Right down to the no-frills set.

Review Extracts

”Biering has a predilection for cartoon sound effects, video slogans and spotlights.  The most telling lines get, for example, a sabre whoosh and a blinking logo … but it is done with such exuberance that it is extremely refreshing.”
Information (DK), Røverne

”…with Tue Biering’s precise, pulsating direction and the extremely expressive Thomas L. Corneliussen on stage, familiar material is made into consummate and constantly surprising, imaginative theatre.”
Berlingske Tidende (DK), Kærlighed

”The Europeans … is a topnotch orgy of noise, sound, smell and political slogans, where European humanism is under fire.  It is a stroke of genius they have created at Turbinehallerne. The actors are magnificent, and the play is highly entertaining and howlingly funny ... a lively example of Danish political theatre.”
Urban (DK), Europæerne