Chapter 4 gives an account of the role of repertoire and travel in German public theatre and how the Theater an der Ruhr works against national understandings of canonised theatrical repertoires. It examines why German repertoire theatres do not discard plays after a season but reperform them for years, even decades, and what consequences this has for actors and their self-cultivation, as well as for the building of an ethico-aesthetic tradition in an institution. This system goes hand in hand with the closely knit notion of the ensemble in German theatre. This chapter explores these notions through a case study of the transnational repertoire of the Theater an der Ruhr and their long-term collaborations with international theatre-makers from precarious parts of the world, known as the ‘international theaterlandscapes project’. I accompanied the Theater’s journey to Algeria and witnessed first-hand their cooperation with Algerian and Tunisian artists after the ‘Arab spring’, focusing on the way in which theatre develops forms of transnational diplomacy and troubles national narratives of cultural heritage.