The Marstall, built by Leo von Klenze, served as a court riding school for aristocratic society at the beginning of the 19th century. But with the fall of the monarchy, riding in the Marstall also came to an end. From then on, the premises were used as a museum where the population could admire magnificent carriages of the former king that had become useless.
During the bombing raids in the Second World War, the building was severely damaged. After being provisionally rebuilt, it is used for years by the State Theaters as an assembly hall, lumberyard and for storing decorative parts.
In the late 1960s, many artists with new, experimental plays and ideas seek alternative performance venues. In 1971, the potential of such a studio and experimental stage is recognized in the Marstall, and just over a year later, Walter Schmidinger ceremoniously opens the newly acquired venue with Franz Xaver Kroetz's play "Globales Interesse" as part of the cultural program for the Olympic Games in Munich. In the following years, the world premiere of Ingmar Bergman's "Scenes from a Marriage" can be seen here, among others. National and international artists are frequent guests at the Marstall.
The workshops and a prop warehouse are located on the upper floors. To this day, all stage sets for the Residenztheater are created here.
Under the directorship of Eberhard Witt from 1993 to 2001, Elisabeth Schweeger took over the artistic direction of the Marstall. She develops it into a center for contemporary and avant-garde (performing) arts in Europe, where these can be (largely) free of content-related or economic constraints and far removed from the normal daily routine of state theaters. Through the numerous co-productions and the intensive exchange with other artists and institutions, a network of the most diverse art forms and cultural creators is created in and around the Marstall.This content has been machine translated.
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