Heidelberg, Germany – The Heidelberg Stückemarkt opened its 2026 season with the world premiere of “Asiawochen,” a new play by Yannic Han Biao Federer that won multiple awards at the previous year’s competition. Directed by Wang Chong, the production ran at Theater Heidelberg’s Zwinger 1 venue beginning April 24, 2026 and features an ensemble cast including Jenny Groß, Hyun Wanner, and Henriette Blumenau.
The play centers on Vanessa, a German-born teacher-in-training of Indonesian descent, who becomes increasingly obsessed with uncovering her family’s suppressed history related to German colonialism in Indonesia. As she delves into the connections between European spice trade monopolies, the violence of the Dutch East India Company, and the lingering trauma passed down through generations, her relentless pursuit strains her personal relationships and challenges those around her to confront uncomfortable truths about historical amnesia in German society.
According to reviews from the opening night, Federer’s script uses sharp dialogue and symbolic staging to explore how colonial violence is intertwined with broader narratives of European modernity. One notable line from the protagonist—“No First World War! No Hitler!”—was highlighted in multiple critiques as a provocative reminder that the roots of 20th-century catastrophes extend further back into colonial exploitation than commonly acknowledged in German public discourse.
The staging by director Wang Chong emphasizes physical movement and rhythmic pacing, with actors frequently circling a central vacuum-like structure on stage—a metaphor for the void created by historical erasure. Costume and set design by Ji Hyung Nam contribute to this atmosphere, using minimalist elements to focus attention on the emotional and ideological tensions between characters.
Federer, a Swiss-German playwright of Taiwanese heritage, received the Heidelberger Stückemarkt Author’s Prize, the SWR Kultur Radio Play Prize, and the Audience Prize for “Asiawochen” in 2025. The function is noted for its interweaving of personal family drama with systemic historical critique, particularly regarding how colonial histories are omitted or distorted in German educational curricula.
Performances include English supertitles for international audiences, visible from the balcony but not from orchestra seating—a detail patrons are advised to consider when selecting seats. The production is recommended for viewers aged 16 and older due to its thematic complexity and references to historical violence.
As part of Theater Heidelberg’s ongoing commitment to contemporary German-language theater, “Asiawochen” represents a significant contribution to current debates about memory, identity, and accountability in postcolonial Europe. Its premiere at the Stückemarkt underscores the festival’s role in fostering new dramatic works that engage critically with societal blind spots.
For updates on future performances or related events at Theater Heidelberg, audiences are encouraged to consult the theater’s official website and box office.
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