Abstract
“It is a common claim and a justified one that British theatre is the best in the world,” said Chris Smith when he was head of the Department for Culture, Media and Sport (DCMS) (Runciman 9). But many German cultural politicians and theatre practitioners are convinced that the German theatre system deserves that position. Who is right, or can both be right? And what does that imply considering that the theatre systems of the two countries represent very different types: Germany is known for its state-owned Stadttheater which employ permanent ensembles and keep a whole range of productions in their repertoire, while the reputation of British theatre rests to a large degree on commercial conglomerates, particularly those in London’s West End.
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