In the artist's words:

"Spielbrett - how well this name describes this unique theater group. The board, the boards on which, or on which they can play, can be found everywhere [...] on streets and squares, in castle courtyards or on village squares. What [began] in 1986 with Falstaff in Windsor, [...] what struck the Dresden theater scene like a bolt of lightning, has not died out. With Shakespeare across the country, just like the master, close to the pubs, theater for everyone
for everyone, laughter as a gateway to thought, imagination to broaden horizons, crackling jokes and crisp truths. The covered wagon is still rolling today.
Spielbrett takes the traditions of popular theater very seriously and is perhaps one of the few theaters that have brought it back to life against all misunderstanding of those entertainment formats in which the audience is not taken seriously.
And there is something else that characterizes Spielbrett for me: the freedom of laughter, the comic exaggeration, the wordplay in the context of physical agility. The hilarity is taken seriously, and so it is always possible [...] to flash up precisely those
moments of freedom that theater thrives on, in which the audience can at best laugh at precisely those things in the evening that can be horribly frightening during the day. In this respect, Spielbrett makes political
theater, but without pointing a finger. Instead, they prefer to bang their fists hard on the table if they have to, without fear of shards. Sometimes the planks that mean the world have to shake, bend and splinter.
bend and splinter. And the curtain, if there is one, is never hung according to the wind."

Boris Gruhl, author and freelance cultural journalist