Duration: 2 h
Information: In Urdu, Hindi, Persian and English with German and English surtitles
The musical JO DOOBA SO PAAR, by an enchanting ensemble from Mumbai, tells the story of the famous poet and musician, Amir Khusrau. He lived in the 13th century in the Delhi Sultanate and wrote songs, stories, and poems. JO DOOBA SO PAAR was one of his famous couplets, meaning: ‘Those who drown in love, make it to the other side of the river.’ Remarkable about this show is not only its scarcely available content, but also the tradition al style of Urdu storytelling known as Dastangoi. This artform of textual and musical recitation goes back to the 13th century on the Indian subcontinent and has been enjoying a pop-culture renaissance in modern India. Magic, adventure, romanticism – it has it all.
The performance consists of stories, songs, and moments revolving around Khusrau. His work and life are treated as a fluctuation between vari ous worlds. A student of the Sufi mas ter, Nizamuddin Auliya, he lived in the 13th century between the sultan’s pal ace and the monastery, between power and withdrawal, between language and song. His songs, poems, and stories, set down in Farsi, are full of lyricism and imbued with human candour.
From 18 June to 5 July 2026, Chemnitz will be in the international spotlight: Germany's largest international theatre festival "Theatre of the World" is coming to Chemnitz - directly following the Capital of Culture year 2025. For three weeks, Chemnitz will be a meeting place for artists, spectators and theatre enthusiasts from all over the world. A lively celebration of the performing arts will take place on stages, in urban spaces and in unusual locations, overcoming borders and bringing together stories from all over the world.
Nine international curators from Australia, Canada, Colombia, Argentina, South Africa, Greece, Jordan, India, Senegal and China are responsible for designing the festival programme. They will meet in Chemnitz in November to select around 40 outstanding productions - works that they have previously viewed in their regions. The result is an inspiring panorama of current theatre forms, languages and perspectives.
