E-Book, Englisch, Band 4, 148 Seiten
Reihe: backstage
Jörder / Ostermeier OSTERMEIER
1. Auflage 2016
ISBN: 978-3-95749-092-6
Verlag: Theater der Zeit
Format: EPUB
Kopierschutz: 6 - ePub Watermark
(english edition)
E-Book, Englisch, Band 4, 148 Seiten
Reihe: backstage
ISBN: 978-3-95749-092-6
Verlag: Theater der Zeit
Format: EPUB
Kopierschutz: 6 - ePub Watermark
Gerhard Jörder, geboren 1943 in Pamplona/Spanien. Theaterkritiker, Moderator und Dozent. Autor der ZEIT. Er war und ist Mitglied in mehreren Jurys (Berliner Theatertreffen, Else-Lasker- Schüler-Preis, Autorentheatertage, Ulrich-Wildgruber-Preis, Körber Studio für Junge Regie), hat elf Jahre lang die Autorengespräche bei den Mülheimer Theatertagen geleitet und unterrichtet an verschiedenen Hochschulen und Akademien. 2013 erhielt er den Marie- Zimmermann-Preis für Theaterkritik. Er war von 1998 bis 2001 verantwortlicher Theaterredakteur und (gemeinsam mit Sigrid Löffler) stellvertretender Feuilletonchef bei Die Zeit, lebt in Berlin und Freiburg. Thomas Ostermeier (*1968 in Soltau) studierte von 1992 bis 1996 Regie an der Hochschule für Schauspielkunst 'Ernst Busch' in Berlin. Von 1996 bis 1999 war er künstlerischer Leiter der Baracke am Deutschen Theater Berlin, die 1998 zum 'Theater des Jahres' gewählt wurde. Seit 1999 ist er Hausregisseur und Mitglied der künstlerischen Leitung der Schaubühne am Lehniner Platz in Berlin. Er inszenierte außerdem bei den Salzburger Festspielen, beim Edinburgh International Festival, beim Festival d'Avignon, am Deutschen Schauspielhaus Hamburg und an den Münchner Kammerspielen. Thomas Ostermeier erhielt u. a. den Europäischen Theaterpreis 2000 und war mit vielen Inszenierungen beim Berliner Theatertreffen vertreten: Messer in Hennen von David Harrower (Baracke am Deutschen Theater Berlin 1997), Shoppen & Ficken von Mark Ravenhill (Baracke am Deutschen Theaters Berlin 1998), Nora von Henrik Ibsen (Schaubühne Berlin 2002), Hedda Gabler von Henrik Ibsen (Schaubühne Berlin 2005), Die Ehe der Maria Braun von Rainer Werner Fassbinder (Münchner Kammerspiele 2007). 2011 erhielt er in Venedig den Goldenen Löwen der Theaterbiennale.
Autoren/Hrsg.
Weitere Infos & Material
From Venice, where we were doing a guest performance of .
To Zagreb, with . Later in the year we’ll be going to South America with once again, São Paulo and Buenos Aires. We’ll be doing a guest run in New York with the same play, for a week. In between there is Rome, . And I almost forgot – St Petersburg is also on the schedule.
The Schaubühne’s international guest performances
Only dance companies come to mind – Pina Bausch, Forsythe.
, Hedda Gabler An Enemy of the People, Hamlet DIE ZEIT
Giving a face to the new bourgeoisie
“I don’t deconstruct, I reconstruct”
No, in fact I have difficulties with that kind of label! I’m quite capable of assessing myself. I know that I still haven’t made truly great theatre history – like Marthaler, Castorf or Schlingensief, for example, who have made a significant aesthetic impact. The only aesthetic impact that my work to date may have made is in giving a face to the new bourgeoisie with productions such as and . I think people draw a connection between the glittering, design-obsessed surfaces of the new middle class and my theatre work. But there’s also the crazy Hamlet with the upturned crown on his head. The fact that I am so successful abroad is above all due to my narrative style. A lot of what we here consider the last word in modish avant-garde is impossible to communicate abroad as a relevant theatre aesthetic. In America and the UK they call it Eurotrash. I am, if you will, the little brother of the Deconstructionists – when the big brothers have torn everything apart, someone has to collect the pieces and put them together again. And that’s what I do. But always in the hope that the joins between the pieces are visible. In Japanese culture they have an expression for it – A ceramic object is only truly beautiful after it has been broken and put back together again. Making the joins visible is the goal of the aesthetic. I don’t deconstruct, I reconstruct. And I’m telling stories again. Cultures that are oriented toward narrative, particularly the Anglo-Saxon world, they simply skip the generation of my big brothers, who don’t even get invited – and come directly to me. And that’s how you become the face of German theatre all of a sudden.
regietheater The whole world is shaped by Anglo-Saxon culture, cinema thrives on Hollywood stories. The North American novel is an important reference point in literature. And thematically, too, a lot of what someone like Castorf works with – post-socialism, the East German experience, and so on – is almost impossible to export. But the role of women, issues around the family, the happiness promised by our bourgeois society – these are issues that are of interest to everyone.
France, a second home
Very early on, while I was still training at the Ernst Busch acting school, 1995. We went to France with Alexander Blok’s . We were invited to perform at the Festival en mai in Dijon – that’s where I established my first major links with France.
On my mother’s side, my family comes from the Saarland, on the border with Lorraine. My grandparents met in the household of a Jewish doctor in Metz. My grandfather, who spoke the Saarland variety of French, was the chauffeur for the doctor’s family, my grandmother was the – she had to hangout the washing with white gloves, that became a legendary anecdote for us.
No, no, I only learnt it a lot later on! I didn’t have the kind of background where you grow up with things like that.
artiste associé
Yes, year in year out we have at least 20,000 visitors. And it’s no different outside Paris – every theatre, big and small, from Normandy right down to Marseille, they all want us in their programme at least once…
I believe for one thing it’s the great respect for narrative, for this realistic story-telling, another reason is their idea or illusion of modernity. The French find our theatre to be highly physical, highly radical. I myself often get labels like … But above all they’re fascinated by our actors.
It takes an ensemble to create an identity
Yes, absolutely! The biggest and at the same time most banal deficiency – they have far less money than we do in Germany. That means that the whole spectrum of set design, aesthetics, the constant search for new forms and investigating how spaces determine the behaviour of actors – none of that can really develop there, they don’t have the budgets or the workshops for it. The second decisive point is that when you think of people like Peter Stein or Frank Castorf, the major developments in the theatre have always been associated with ensembles and with the fact that those ensembles developed over the course of years and cultivated their own language. It’s only when you maintain a permanent ensemble that you can build up that kind of identity. They don’t have that in France.
Ariane Mnouchkine
Well, at the Comédie-Française they do. And Ariane Mnouchkine does as well, with the Cartoucherie. Which I have to say is the most significant ensemble theatre in Europe, I’m convinced of that. There is no national or city theatre in Germany that functions as perfectly, as an ensemble, as Mnouchkine’s Théâtre du Soleil! It functions as a theatrical undertaking – and, still, as a theatre community.
80,000 visitors a year outside Germany
As a rule of thumb, about 80,000 visitors a year. And it’s a part of our theatre work that we take extremely...
