Trying to grasp the state of performing arts in public spaces in Germany reveals the complexity of the issue and the marked differences in its development and prospects compared to countries such as France, Spain and the UK. To fully understand the contemporary role and significance of theatre in Germany's public spaces, a concise historical overview is imperative.

The German theatre system has emerged as a consequence of a cultural and historical development, closely interwoven with the institutions of the state, the ideals of the bourgeoisie, and the policy of cultural institutions. Its foundation dates back to the 17th and 18th centuries when court and residence theatres served the representation of political power. The creation of permanent venues, stable ensembles, and reliable funding was and is essential in laying the foundation for theatre to thrive as a long-term cultural institution.

The federal structure of the German territories fostered numerous regional theatre centres instead of a central national theatre. The primary function of theatre was to disseminate ethical values, to stabilise social order, and to nurture a shared cultural public sphere. Theatre became more widely owned by municipalities in the 19th century, and was seen as an important part of public culture. This established the municipal theatre as a central institution with a stable organisational structure. Theatres provided a framework for professional production, shaping cultural norms and hierarchies by defining which artistic forms were considered legitimate. The theatre system remained remarkably stable despite the profound political upheaval of the 20th century, consolidating itself as a basic form of cultural provision after 1945. This led to the development of a unique, dense network of publicly funded theatres.

The independent theatre scene in Germany, which emerged in the 1960s and 1970s as an opposition to municipal and state theatres, has challenged hierarchical structures, aesthetic norms, and social exclusivity. In the process, it has experimented with alternative methods, spaces, and public engagement. Public space, which is to a large extent outside the control of institutions, became a key site for direct encounters with audiences. Notwithstanding these innovations, the scene remains marginal, as funding and training systems continue to favour permanent buildings, fixed schedules, and ensemble-based models.

The Federal Association for Theatre in Public Space (Bundesverband Theater im Öffentlichen Raum e. V., www.theater-im-oeffentlichen-raum.de ) is Germany’s central body representing performing arts in public space, advocating for its recognition, support, and professionalization. Founded twenty years ago in 2006, it emerged to establish theatre in public space as an independent genre and to strengthen the field’s working conditions, aesthetics, and cultural-political concerns.

A core function of the association is the development and maintenance of a professional network for artists, producers, and organizers. Through exchange, workshops, and publications, it addresses and professionalizes aesthetic, organizational, and production-related questions pertinent to practice in public space. This is especially important given the absence of formal training programs or accredited courses in dramaturgy, curatorial planning, or production dedicated to performing arts in public space. Consequently, knowledge and skills in this field are largely transmitted through practice, peer exchange, and mentorship rather than formal education. The association promotes the art form to policymakers, funding bodies and the public, promoting its inclusion in funding programmes and cultural strategies. Its intermediary role between the independent scene, municipal and national stakeholders, and the cultural establishment is significant.

Festivals dedicated to performing arts in public space play a vital role in the theatre and dance landscape. These festivals are often organised or co-funded by municipal cultural offices. This local focus links governance with artistic programming: performances take place in streets, squares and parks, enabling cultural participation within residents' everyday environments beyond traditional institutional settings. A prime example is the Bildstörung biennial festival (www.bildstoerung.net) in Detmold, which brings international theatre, dance, circus and hybrid performances to both central and peripheral urban areas. By embedding works directly into the urban fabric, the festival makes site-specific and site-adaptive contemporary art accessible to a diverse audience and fosters interaction between local communities and visiting artists. With a curatorial focus on public space as a relational field, the festival extends cultural participation into everyday life. Through its inclusive, admission-free events and integration into transnational networks, it also positions local artistic practice within broader international contexts.

Despite these achievements, the development of performing arts in public space in Germany still holds considerable potential and requires support through targeted funding measures and reforms in training and educational structures as well as international networking.

Photo: © Sarah Pernt

Sabine Kuhfuss

Holds a degree in Education Science and Sociology and a degree in Cultural Management. In 2019, she was appointed to the position of artistic director of the KulturTeam of the city of Detmold and BILDSTÖRUNG festival, following her role as co-director of BILDSTÖRUNG festival.