The decision of the AGORA Theatre to maintain the parity - and simultaneity in the production horizon - of "children's and youth theatre" on the one hand, and "evening program" for adults on the other hand has proved to be trend-setting. This orientation allows, indeed forces, the permanent questioning of one's own practice with a view to its relevance to the local, regional and international population. The AGORA Theatre thus remains a popular theatre: It is not the playground for preferably sensational ideas, but the place where important questions are negotiated for the people: negotiated in a way that only theatre and only art can make possible. Since the founding of the ensemble, the starting point for the theatrical work has been the "autobiographical method", which has been continuously developed since the 80s in the wake of Marcel Cremer and from the AGORA Theatre and is now further developed under current influences. It allows players, directors and other participants in the creative process within the development of an AGORA piece to periodically reflect about the relationship of their own biography to current political and cultural topics. Thus every development of a piece becomes a current reflection on the relationship between individuality and society. The "autobiographical method", which encorporates change, is also the approach of the theatre-educational work of the AGORA Theatre. This negotiation between the ego and the world, between the individual and society is the central content of the work, adapted to the current settings and needs of the participants. The professionalisation of theatrical education in recent years has led to the fact that the AGORA Theatre is sought after in this area, throughout Europe, to spread impulses and methodologies that have arisen in the history of the theatre of the German-speaking region. The work of AGORA, a small theatre of a minority of a European country, can be read as an index that the preservation of cultural identity does not contradict with an opening up to the outside and to others. We do not want to be an export hit for one particular method, but to convey the political, social and communal reality of our region so that it can become meaningful for others. The proposed project, the "TheaterTage 2019" is an instrument of this task. The goals of our project are: The participants will speak, listen and play in different constellations in order to design spaces that make the effects of action tangible. Specifically, this means that the participants will practice examination and debate. This can enable them to develop an expanded understanding of "the Other," "the Others." To open up their consciousness and to develop curiosity for other cultures, other ways of life, other convictions is the prerequisite for a peaceful coexistence. Local, regional, pan-European and possibly even international networks should be stimulated and initiated in a lasting way through the exchange between young participants at the Theatre. For the individual participants the playing, watching, evaluating and being able to speak results in competences, the consequences of which may be the beginnings of thinking about politics and society. What emerges from these beginnings? Possibilities.