From the very first, Coriolanus has struck me as a play about theatre machines. Apart from its very own textual negotiations of the theatre of politics, it has also inspired a variety of other theatre texts, which wrestle with the complex power structures depicted on and off “stage” in Coriolanus. We have invited these texts by Brecht, Müller, Grass, and Bernhard to challenge Shakespeare and be in turn challenged by Shakespeare. The deconstructed and hence re-constructed text, both of the script and the performance, are inviting you, the audience, to investigate your own assumptions of what theater is and should be. This production wants to speak of the dynamics and tensions, the work and the labor, which are invested into the theater process itself – by the performers, but also by the audience. As much as Coriolanus is a play about how politics work, the production itself will disclose its own politics in terms of producing and destroying of theater and making it thus visible as theater – a theater that is not removed or without consequence, but a theater that is immediate and visceral, producing and reproducing, sabotaging and fixing itself, a machine that includes actors, crew, and audience.