The hardened debate about Islam, which has transformed into a discussion about Germany as a country of immigration, has long arrived on the theater stage. But what strategies can theater offer to bring this discussion to the forefront? As a post-migrant theater, Ballhaus Naunynstrasse operates at the intersection of politics and art, stage and society. Nora Haakh's first comprehensive portrayal of Berlin theater examines intervention possibilities in the cultural sector and in the debate, analyzing productions by Neco Celik, Nurkan Erpulat, and Hakan Savas Mican within their discursive context and in search of a lighter way to speak about Islam.