They must have seen that, because they’ve never seen that before.
kä sent on 10.10.2019 to Die Stunde, da wir nichts voneinander wußten (The hour, when we knew nothing about each other)

Kronenzeitung from 12.10.2019 to Die Stunde, da wir nichts voneinander wußten (The hour, when we knew nothing about each other)

Dante, Tod und Teufel is the most spectacular Blaue Nacht program im Tucherschloss  to date.
Museumszeitung 45, 2013

Feel like reading some really smart stuff again? Then I recommend article “Versuch über das Unübertragbare” by Susanne Göße in Parapluie., 2009

Strange! Lively! Thrilling! The spectators are intoxicated. Maximum enjoyment, a rush of happiness. This piece is a highlight of the Hue Festival 2004.
Vietnam Express from 16.6.2004  and Thua Thien Hue from 19.6.2004 zu Dialoge über die Liebe (Dialogues about love)(translated from Vietnamese)

The most impressive is probably the contribution by Susanne Göße, who, through an exhaustive analysis of a poem by Zhong Ming, explains the defense against ideological appropriation in contemporary Chinese literature.
KulturPoetik 3-1/2003 – to Empty names and virtual memory

Susanne Göße’s lyrics are wonderfully poetic ciphers. With this “theatre project”, Göße and Gruber have regained an experiment on the podium of the Ulm theatre in which Western and Far Eastern theatre happily combine.
Die Deutsche Bühne 11/1998 – to Anstatt Rashomon

Both volumes represent new territory. For the first time in German translation, the poems of the poetry group of the “Five Nobles of Sichuan” are presented in such diversity. Both volumes are a remarkable overall achievement.
Bochumer Jahrbuch zur Ostasienforschung (Bochum Yearbook on East Asian Studies) 21/1997, S. 249-251 – to Chinesische Akrobatik – Harte Stühle und Glasfabrik (Chinese Acrobatics – Hard Chairs and Glass Factory)

Susanne Göße’s translation is an outstanding achievement and proves her great talent.
Paul Hoffmann, Epilogue to Chinesische Akrobatik – Harte Stühle (Chinese Acrobatics – Hard Chairs)1995.

Susanne Gößes piece is tragic, lyrical, sad, but also grotesquely funny. Martin Gruber creates a light, clear network of relationships, self-contained and never purely formalistic. This is a choreographed linguistic rhythm.
Cult  8/1998-1999 – to Fest für Liebende in unglücklicher Konstellation

Premiere of the weekend: Opera in Hanoi. Precise and stirring interpretation, idiosyncratic accordion playing, intent on effect. Three artists, one instrument – professional opera is not to be had less elaborately.
Frankfurter Allgemeine Zeitung from 17.10.2004 to Dialoge über die Liebe (Dialogues about love)

With this premiere, Gruber and Göße have regained the function of the stage of the Ulmer Theater for which this “most beautiful theatre space” in Germany was once designed: the artistic experiment.
Stuttgarter Zeitung from 24.9.1998 – to Anstatt Rashomon (Instead of Rashomon)

An existentialist, minimalist piece. Zen or the art of drawing on such outstanding sources of inspiration.
SWF 3-Fernsehen, „Kultur Südwest“, broadcast on 23.9.1998 – to Anstatt Rashomon (Instead of Rashomon)

It is a great merit of the organizers to have chosen a multidisciplinary approach, as offered by semiotics. There has been a long overdue interdisciplinary exchange in China.
Hefte für ostasiatische Literatur (Booklets for East Asian Literature) 18/1995, S. 153-155 – to Zeichen lesen – Lese-Zeichen

One of the aims of the conference was to perceive and clarify misunderstandings caused by culturally different ways of reading signs, a company that could prove helpful, at least in certain respects, for understanding between peoples.
Frankfurter Rundschau from 1.11.1994 – to Zeichen lesen – Lese-Zeichen

The translations preserve the density and aura of the originals.
Schwäbisches Tagblatt from 12.7.1993 – to Glasfabrik (Glass factory)

Successful prelude with readings and a vernissage in the Hölderlin Tower. Peter Härtling and the Chinese composer Zhu Shirui read Hölderlin alternately in German and Chinese. Andreas Schmid could hardly save himself from inquiries about the installations, drawings, calligraphies and lithographs that he and the Chinese Yang Jiechang had installed in and on the Hölderlin Tower.
Schwäbisches Tagblatt from  24.6.1995 – to Chinesische Lyrik. Musik. Malerei. Künstler aus Deutschland und China im Gespräch (Chinese poetry. Music. Painting. Artists from Germany and China in conversation)


(The contributions quoted here have been shortened)