In her production, theater director Regina Busch dares to take a new look at Rosemarie Nitribitt and prostitution. The piece performed as part of “Frankfurt reads a book”.
In her new staging, women should be the focus. Sex workers whose names nobody knows, as well as Frankfurt’s most famous high-class prostitute Rosemarie Nitribitt, explains director Regina Busch. Because in “Nitribitt: Reloaded”, which premieres in the International Theater at the end of October, the focus is on the person Rosemarie – and not on the scandalous or her violent death. “We were interested in your path,” says Busch. Her ensemble of the same name performs the piece as part of “Frankfurt reads a book”. The group was very concerned with the history of the young woman and where she comes from. These aspects have so far been little discussed.
At the same time, the ensemble, which consists of professional and amateur actresses, dealt with the complex field of prostitution. “We set this topic for the play two years ago,” explains Busch. Nitribitt was added later. And they were surprised and delighted when they found out that Erich Kuby’s book was at the center of the reading festival. “But with the aim of drawing our attention away from the male point of view.”
When it comes to the prostitutes’ perspective, they are also interested in the women themselves, their different ways of life and their different paths in this profession, explains Busch. Because mostly these would be presented in a clichéd way. They want to give the anonymous women a face and a voice. And also put them in connection with the city and society.
Usually the ensemble that Busch founded in 2006 plays existing pieces. In recent years, for example, “The Last Fire” by Dea Loher and “Don Juan comes out of the war” by Ödön von Horváth. As different as the materials are, the group members always worked out together what seemed important to them and related it to the present day. The theater maker also attaches great importance to the fact that the actors discuss the new play together and are involved in the decision-making process.
Nitribitt Reloaded: The premiere is on Friday, October 30th, at 8 p.m. Further performances are on Saturday, October 31, at 6 p.m. and 8.30 p.m., and Sunday, November 1, at 6 p.m. in the International Theater, Hanauer Landstrasse 7. Tickets at internationales-theater.de The reading festival “Frankfurt reads a book” for “Rosemarie. The German miracle dearest child ”by Erich Kuby takes place from October 24th to November 1st. jkö / fle Program: frankfurt-liest-ein-buch.de
That can take time. It takes three months to make the selection, then it takes a good year to work it out and in five months it will be ready for the stage, says the native of Bremen. That is why at the beginning of each piece scenes are read together and improvised, because a material can be presented very differently than when reading alone. The same also applies the other way around. “The aim is for the group to be able to identify with it,” says Busch. It is important to her, as a director, not to impose any texts, but only to make suggestions.
Busch started out as an assistant director in the 1990s for the Bremen Shakespeare Company. She had previously dropped out of her literary studies and opened the Falstaff Theater Cafe for the Shakespeare Company. But she noticed that she liked to work with texts and that she wanted to do theater. Instead of continuing to study, she opted for practical experience. Various positions followed as assistant director in Bremen and Konstanz and scholarships for the Berlin Theatertreffen, Lincoln Center Theater in New York.
In 2000, Busch moved to Frankfurt because of love. And she stayed and got married. In times of savings in the cultural sector, she wanted to build up a second mainstay and trained as a video journalist. And so the 54-year-old is still working as a director for classical concert recordings for the HR Symphony Orchestra.
But that’s not all, Busch is also the artistic director of the Daedalus Company, which she co-founded in 2010. The first part of a trilogy was performed in September in the Gallustheater, the ancestral home of the independent ensemble. To do this, she works with a young director and two performers. The trilogy is about female strategies for self-empowerment. The company has set itself the goal of promoting women in the performing arts and music, because the female perspective is still clearly underrepresented in both areas.
And how does Busch get it all under one roof? “The work can be linked well and is mutually beneficial.” And in some moments she even comes to terms with completing her literary studies.