Born in 1967 in Braunschweig, Germany. From 1986 to 1993 she studied theater studies and German at the Freie Universität Berlin, and during her studies she worked as an intern and assistant director at independent and state theaters, and as a newspaper, radio, and television journalist. Her first engagement after her exams was as a drama dramaturge at Theater Bremen from 1994 to 1996. Afterwards she was hired by Bayerisches Staatschauspiel in Munich.
In 1997/1998 Marion Hirte worked as the director of press and public relations at Berliner Ensemble. From 1998 to 2006 she worked as a dramaturge under Frank Baumbauer, first at Deutsches Schauspielhaus in Hamburg and later at Münchner Kammerspiele. During this time she also taught at the Hochschule für Musik und Theater in Hamburg, and at the Otto Falckenberg Schule in Munich. In 2007 she became head dramaturge at Schauspielhaus Graz, where she worked until 2008 when she accepted the position of professor of production dramaturgy at the University of the Arts Berlin (UdK). Since then, she has been a guest dramaturge at Schauspiel Graz and Schauspiel Köln, and she is also a dramaturge in the management team of the Munich Biennale, the international festival of new music theater. From 2015 – 2019 Marion Hirte was also managing director of the Europäische Theaterakademie “Konrad Ekhof,“ which organizes the annual theater conference of German-speaking theater students. She is the theater program director in the performing arts department at the University of the Arts Berlin.
Some “NEW Return” results faster and more unexpected than expected. Due to the ubiquitous effects of the Corona Pandemic, the Munich Biennale 2020 will for the first time become a dynamic festival. Premieres that cannot be released in Munich in May 2020 due to the pandemic will be premiered elsewhere, or in Munich at a different time.
The Munich Biennale will not stream performance-replacement pieces. It will not go online as a whole. The Internet is used primarily to provide impulses for later, physically real performance situations. We assume that many of the productions planned for the 2020 Biennial will see the light of day over the next eighteen months. The theme and spirit are to take place in the “Salon of Wonder and Views” as a unifying element over a longer period of time in various locations in a pointed manner.
In all existential crises, the arts have been a (co)decisive moment of renewal, of rethinking, of reflection, of departure, of conversion, of NEW Return, for each individual as well as for the community. Thus the dynamic Munich Biennale 2020/2021 is, with its motto “Point of NEW Return”, a metaphor for the necessary flexible handling of our present and a model for mobility, topicality and relevance of the arts.