The AufBruch Theater contributes to the resocialization of prisoners. The public rewards him with sold-out shows. But now Berlin appears to be questioning the prison theater and cutting funding. This time, however, the obligation does not lie with the Senator for Culture.
One of Berlin’s most unusual theaters is about to close. And this time it’s not even the turn of Culture Senator Joe Chialo. The AufBruch prison theater is financed by the senate Department of Justice. But in the first week of December 2024 the project, which has been performing theater with Berlin prison inmates for 27 years, was informed that funding would be cut by 70% starting from January 1, 2025. This concretely means that AufBruch die could not continue the previous work.
Prison theater is not really the playground of a cultural bubble. if you wont to see other worlds, you have to come to the AufBruch shows.On stage there are people like those in Georg Büchner’s “Woyzeck”, the rejected and ostracized members of society, who in their struggle with the difficulties of life could often only respond with harshness. Acting in prison helped break this cycle. Rarely has the moment of freedom in art and culture been so tangible.
Over decades, AufBruch has earned the trust of prisoners, management and employees in Berlin’s Tegel, Moabit and Plötzensee prisons. The prison theater is unique in Germany and is famous beyond the country’s borders. Sometiems international delegations attended the shows, which were always sold out. The following applies to AufBruch: If you want a ticket,you have to be quick. After a few minutes all tickets are always sold out, occupancy is 100%!
Even though AufBruch makes an crucial contribution to rehabilitation, as prison authorities always emphasize in their speeches before premieres, it also impresses with its high artistic quality. Acting stars like Edgar Selge are among theater fans. “One Flew Over the Cuckoo’s Nest” was even praised by one critic as a Theatertreffen nominee last year. And even with “The Threepenny Opera” or “faust” you don’t have to hide from the professionals
For prisoners, prison theater is a rare possibility to show a different side of themselves, even in front of family and fellow prisoners. And receive applause once in your life. Here theater can still change lives, as many AufBruch actors say. The prison theater is also appreciated by prison employees, who otherwise would hardly have the opportunity to show their families the workplace. What is now threatened by drastic cuts to offender care and rehabilitation care is a unique cross-border project between urban society and prison.
How can communities support initiatives like AufBruch Theater amid funding cuts?
Interview with Dr. Lisa Weber: Resocialization through Theater at AufBruch
Editor: Welcome, Dr. Weber! Thank you for joining us today to discuss the AufBruch Theater and the implications of the recent funding cuts.Can you give us an overview of the AufBruch Theater’s impact on prisoners and rehabilitation?
dr. Weber: Thank you for having me. The AufBruch Theater has been a beacon of hope for prisoners in Berlin for 27 years. It offers inmates the chance to express themselves creatively, which plays a crucial role in their resocialization. Being part of a theatrical performance allows these individuals to showcase a different side of themselves and to experience the profound effects of art and culture. Many have reported feeling a sense of freedom and fulfillment that their past lives did not offer.
Editor: That’s truly remarkable. However, it seems this unique initiative is facing meaningful challenges with a 70% funding cut starting January 2025. What does this mean for the theater and its future?
Dr. Weber: The cuts are devastating for the AufBruch theater and the prisoners involved. The financing comes from the Senate Department of Justice, and such a drastic reduction will make it nearly impractical for them to continue their operations. Not only does it threaten the artistic output of the theater,but more importantly,it jeopardizes the essential rehabilitation service it provides. This theater is not a luxury; it’s integral to breaking the cycle of recidivism and helping individuals reintegrate into society.
Editor: You mentioned the impressively high demand for tickets, with shows consistently sold out.What does this indicate about the public’s perception of prison theater?
Dr. Weber: Absolutely! The sold-out shows indicate a strong community support for the program. Audiences attend to witness the raw narratives of those often marginalized in society. The AufBruch Theater excels in bringing forth stories of struggle and resilience, making it a compelling cultural experience for patrons, be they prisoners or the general public. The success of sold-out performances reveals an audience eager to engage with these narratives and support the rehabilitation of societal outcasts.
Editor: How does the AufBruch Theater achieve such high artistic standards while together serving a population of prisoners?
Dr. Weber: It’s a remarkable balance. The artistic direction includes professional guidance and collaborations with seasoned actors, ensuring high artistic quality. For exmaple, past performances of works like “One Flew Over the Cuckoo’s Nest” have received critical acclaim. The participation of renowned actors not only enriches the performances but also inspires the inmates. This combination of high-caliber artistry and genuine storytelling helps the theater elevate its productions beyond the typical expectations of prison theater.
editor: The intersection of art and rehabilitation is unique. In your opinion, what lessons can be learned from the AufBruch Theater model that could be applied to similar programs globally?
Dr. Weber: The key takeaway is the power of artistic expression as a rehabilitation tool.Many correctional facilities worldwide are starting to recognise this,but the AufBruch Theater’s model shows the importance of community involvement and high artistic standards in these programs. Establishing strong partnerships with cultural institutions can help in providing resources and expertise. Funding should be viewed not merely as a budget item but as an investment in societal health and crime prevention.
Editor: For readers who are passionate about supporting such initiatives, what practical steps can they take?
Dr. Weber: Engaging in advocacy is crucial. Individuals can contact local representatives to discuss the benefits of funding for arts in correctional facilities. Attending performances, spreading the word on social media, or contributing to nonprofit organizations that support prison arts can also make a significant impact. Encouraging dialog around the value of rehabilitation programs through arts helps to raise awareness and potentially mobilize more support.
Editor: Thank you, Dr.Weber, for sharing your insights on the vital role of the aufbruch Theater and prison rehabilitation programs. We hope that the public advocacy will led to renewed support for this invaluable project.
Dr. Weber: Thank you for having me; it’s essential that we continue to discuss and support these transformative programs.
Keywords: AufBruch Theater, prison rehabilitation, artistic expression, resocialization, funding cuts, Berlin prison theater, community support, advocacy for arts, inmate theater programs