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Last Updated: 19 Oct 11

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Klaus Chatten

KLAUS CHATTEN   (1963 - )

Nationality:   German    Email:   n/a   Website:   n/a

Literary Agent:  Felix Bloch Erben GmbH & Co. KG  

Klaus Chatten first studied sports, romance studies and business management in Berlin, before studying acting at the Max-Reinhardt-Seminar in Vienna from 1983 to 1984 and acting, directing and Scene Writing at the HB Studio, New York, from 1984 to 1985. He worked as an actor in Berlin, Hamburg and Moskow. He was nominated for both the "Best Up-And-Coming Young Writing Award" (twice, 1994 and 1997) and the "Best Up-And-Comping Young Actor Award" (1991) of German theatre magazine "theater heute". He wrote the screenplay to "Stille Nacht" (Silent Night), directed by Dany Levy, which was the German entrance to the competition of the Berlin Film Festival in 1996. As a director, Klaus Chatten worked for several theatres in Germany including Hamburger Kampnagelfabrik and Theater Rampe Stuttgart.

Adaptation / Translations of Plays by Klaus Chatten

ANTHONY VIVIS  

Sugar Dollies

1st Produced:

- - -

Gate Theatre, Notting Hill, London >>>

Organisations:

n/a

1st Published:

Methuen Drama, London >>>, 1996

ISBN/ASIN:

978-041370790

Music:

-

doollee no

#45491

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Genre:

Translation

Parts:

Male

1996

Female

-

Parts other:

5

Notes:

Original Playwright - Klaus Chatten

Sugar Dollies

Rosy, an unemployed actress, Babette and daughter Tabea, dressed as Batman and Robin, and Margot from former East Germany come together in a run-down hotel to be part of the casting for new candidats for "Sugar Dollies", a popular TV show about dating games and marriage. Viola Pfauweber, a Munich casting agent, will decide who will suit the demands and needs of the TV nation best. There is the usual course of cynicism, misunderstanding and exclusion, but things get rather stormy when Rosy brings up the cosmos, the Amazons, God, her pitbull terrier and, indeed, Adolf Hitler. "Sugar Dollies" is a declaration of love to madness, women and the magic, power and anarchy of the theatre.

Further Reference:

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