Revolution in the theater: Marie Rötzer plans massive restructuring!

Revolution in the theater: Marie Rötzer plans massive restructuring!

A large wave of changes rolls towards the theater in Josefstadt. As meinzirk.at , Marie Rötzer becomes the new intendant of the traditional house. The management will be handed over in the course of 2026, when Herbert Föttinger, who is currently swinging the scepter, releases the fortunes of the theater. Rötzer brings a breath of fresh air and plans to replace around a third of the ensemble. This is expected to affect 18 out of 48 ensemble members, while 28 actresses should continue to remain part of the theater.

Some changes have been announced: 16 jobs are to be abandoned, and in two other cases there is still negotiations on the contract extensions. Rötzer has set itself the goal of integrating 12 new members into the ensemble in the coming season. This means that the theater loses between four and six actors to Rötzer's takeover. The underlying reasons for the restructuring are versatile: an earlier structural reform and general inflation are increasing the cultural niche.

criticism and acceptance

Föttinger expresses incomprehension regarding the non -extension of the house's doyenne, but accepts the necessary measures for restructuring. In his review, he sees his many years of work in the theater positively, even if he looks at the changes critically. Rötzer, on the other hand, emphasizes that the theater in Josefstadt will remain an unmistakable actor theater, which is an important concern for many.

The theater management overall is a multi -layered area that, like Wikipedia , includes the management, control and organization of a theater. Artistic and business aspects play a central role here that are anchored in the task of the director. The change at the management level is therefore not only a change for the ensemble, but also for the entire theater landscape in the city. Important tasks are the planning of theater programs under artistic, economic and institutional benefits that are becoming increasingly relevant today, especially in times of falling public funding.

The changes in the theater in the Josefstadt are therefore not only a personnel matter, but an expression of the current challenges with which theater are confronted throughout Austria. The theater will have to adapt to the new circumstances in order not only to stay in the artistic landscape, but also in the heart of the visitors.