In Plain Sight at Duisburg Theater: Poetic Chamber Play about Art and Perspective
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An Evening about Art, Perspective, and the Voices of the Invisible
With In Plain Sight, the Duisburg Theater presents on July 11, 2026, in FOYER III, a focused theater evening that intricately weaves together literature, acting, and art historical exploration. Martina Clavadetscher opens the view on women who became icons on world-famous paintings but often appeared only as models in art history.
When the Canvas Begins to Speak
The production does not follow a pleasing narrative but adheres to a precise dramaturgy of displacement. From the silent image emerges a voice; from the muse, an independent figure. Thus, a stage event is created that questions the relationship between observation and power as well as the mechanics of the art world. The evening thrives on condensation, the delicate play between proximity and distance, and a theatrical atmosphere that draws the audience directly into the production's thought space.
Chamber Play in FOYER III
With FOYER III, the Duisburg Theater chooses a space that is perfectly suited for extraordinary theater productions. 99 seats, free seating, and proximity to the stage create an intense stage experience without any distance reserve. Here, facial expressions, voice, and musical accents have a particularly immediate effect. The reduced playing area enhances the poetic impact of the evening and makes the acting art visible in every moment.
Martina Clavadetscher and the Power of Literary Counter Speech
The Swiss author and book prize winner Martina Clavadetscher is known for her linguistic precision and poetic individuality. In In Plain Sight, she focuses on 19 women's portraits from art history and transforms them into literary assertions. The text explores the ambivalence between veneration, appropriation, and self-empowerment, returning to the figures the presence often only hinted at in museums.
An Evening Between Beauty and Demand
It is precisely this that constitutes the special quality of this production: it does not offer a simple answer but opens up a multifaceted dialogue about representation, body images, and the famous act of being looked at. The direction relies on concentration instead of overwhelm, on fine shifts rather than grand gestures. The result is a theater evening that lingers because it irritates visual habits and, at the same time, touches the audience.
Conclusion: Those who are enthusiastic about literarily ambitious acting, intelligent topics, and intimate theater moments will experience in In Plain Sight an inspiring summer evening with depth. This piece invites you to not only observe art but to question it anew – live at the Duisburg Theater.
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