Help! The Herdmans are Coming, National Theater of Germany | Set & Costume Design, Weimar 2013/14.
November 27, 2014
Help! The Herdmans are Coming, National Theater of Germany | Set & Costume Design, Weimar 2013/14.
Direction: Julia Hoppe, Set & Costume Design: Eleni Konstantatou, Dramatourgie: Nora Khuon.
| More: Set Design & Scenic Space
La Bohème by Giacomo Puccini, National Theater of Germany | Assistant Set Designer, Weimar 2014.
La Bohème by Giacomo Puccini, National Theater of Germany | Assistant Set Designer, Weimar 2014.
Conductor: Massimo Zanetti, Direction: Bettina Brunier, Set Design: Volker Thiele, Costume Design: Mareile Krettek, Dramatourgie: Martina Stutz.
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Schubladen by She She Pop, DNT Kunstfest | Video Design Assistant, Weimar 2014.
Schubladen by She She Pop, Kunstfest National Theater of Germany | Video Design Assistant, Weimar 2014.
In »Schubladen« members of She She Pop (all of whom grew up in the West) invite a number of counterparts socialized in the East to open their respective drawers, so to speak, and approachone another anew. Letters, extracts from diaries and favourite records are sorted in a loose chronological order, combined into thematic areas and read out to the respective soundtrack. Private memories are placed beside events in world history. Reunification is conceived as workon a relationship. The six women sit as couples opposite one another; a mixture of speed-dating, archival work and hen party; a polyphonic and highly subjective chronicle of east-west German history narrated live.
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Have you been here before 1 & 2 , Robert Wilson | Video Design Assistant, Weimar 2014.
October 11, 2014
1 Have you been here before & 2 No this is the first time by Robert Wilson, Kunstfest National Theater of Germany | Video Design Assistant, Weimar 2014.
In an exceptional performance, director and artist Robert Wilson invites us into his astonishing aesthetic universe. Combining hundreds of striking images from his prolific career, Wilson provides an intimate self-portrait of his creative process.
Robert Wilson references his landmark original works for the stage such as »Deafman Glance«, »A Letter for Queen Victoria«, »Einstein on the Beach« (created with composer Philip Glass), »The CIVIL warS« and »The Black Rider«, as well as his acclaimed work for the operatic and theatrical repertoire, including his luminous stagings of »Madama Butterfly«, Wagner’s »Ring Cycle«, »The Magic Flute«, Ibsen’s »PeerGynt« and Heiner Mueller’s »Quartett«.
At the conclusion of the performance, the audience is invited to explore Mr. Wilson’s ideas further during an informal question-and-answer period.
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”Jonny spielt auf” Jazz Opera, National Theater of Germany | Assistant Set Designer, Weimar 2014.
”Jonny spielt auf” Jazz Opera, National Theater of Germany | Assistant Set Designer, Weimar 2014.
Direction: Frank Hilbrich, Set Design: Volker Thiele, Costume Design: Mareile Krettek, Dramatourgie: Kathrin Kondaurow.
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Twelfth Night or What you will, National Theater of Germany | Assistant Set Designer, Weimar 2014.
Twelfth Night or What you will, National Theater of Germany | Assistant Set Designer, Weimar 2014.
Direction: Alice Buddeberg, Set Design: Sandra Rosenstiel, Costume Design: Martina Küster, Dramatourgie: Nora Khuon.
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Intrigue & Love, National Theater of Germany | Set & Costume Assistant, Weimar 2014.
March 31, 2014
Intrigue & Love, National Theater of Germany | Set & Costume Assistant, Weimar 2014.
Direction: Bettina Brunier, Set Design: Volker Thiele , Costume Design: Mareile Krettek, Dramatourgie: Nora Khuon.
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Crime & Punischment, National Theater of Germany | Set & Costume Assistant, , Weimar 2013.
Crime & Punischment, National Theater of Germany | Set & Costume Assistant, Weimar 2013.
Direction: Thomas Danemann, Set Design: Etienne Plus, Costume Design: Regine Standfuß, Dramatourgie: Beate Seidel.
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Weiskerns Nachlass, National Theater of Germany | Set & Costume Assistant, Weimar 2013.
Weiskerns Nachlass, National Theater of Germany | Set & Costume Assistant, Weimar 2013.
Direction: Enrico Stolzenburg, Set & Costume Design: Kathrin Hieronimus, Dramatourgie: Julie Paucker.
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Faust: The First Part of the Tragedy, National Theater of Germany | Set Design Assistant, Weimar 2013.
Faust: The First Part of the Tragedy, National Theater of Germany | Set Design Assistant, Weimar 2013.
Direction: Hasko Weber, Set Design: Oliver Helf, Costume Design: Syzzy Zyzzler, Dramatourgie: Beate Seidel.
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The Merchant of Venice, National Theater of Germany | Set Design Assistant, Weimar 2013.
The Merchant of Venice, National Theater of Germany | Set Design Assistant, Weimar 2013.
Direction: Claudia Meyer, Set Design: Etienne Plus, Costume Design: Esther Dandani, Dramatourgie: Bettina Schültke.
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Uncle Vanya, National Theater of Germany | Set Assistant, Weimar 2013.
Uncle Vanya, National Theater of Germany | Set Assistant, Weimar 2013.
Direction: Corinna von Rad, Set Design: Ralf Käsellau, Dramatourgie: Bettina Schültcke.
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Shakespeare’s Sonnets, National Theater of Germany | Set & Video Assistant, Weimar 2013.
Shakespeare’s Sonnets, National Theater of Germany | Set & Video Assistant, Weimar 2013.
Direction: Michael von zur Mühlen, Set & Video: Bahamdir Hamdemir , Dramatourgie: Anna Volkland.
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Doktor Zhiwago, National Theater of Germany | Assistant, Weimar 2012.
Doktor Zhiwago, National Theater of Germany | Set Assistant, Weimar 2012.
Direction: Konstanza Lauterbach, Set Design: Ann Heine, Dramatourgie: Bettina Schültke.
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La Fabrica Illuminata, National Theater of Germany | Set & Video Assistant, Weimar 2012.
La Fabrica Illuminata, National Theater of Germany | Set & Video Assistant, Weimar 2012.
Direction: Julia Hübner, Set Design: Iris Holzstein, Costume Design: Esther Dandani, Dramatourgie: Katrin Kondaurow.
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Hamlet, die Blaue Stunde | Master Thesis, Direction, Set & Video Design, Berlin 2012.
April 21, 2013
Hamlet, die Blaue Stunde | Master Thesis, Direction, Set & Video Design, Berlin 2012.
Theatrical Performance Installation, Set Design & Scenic SpaceFaculty Technical Unviversity of Berlin,
Professor: Charlotte Tamschick, Video Installation Professor: Heiko Kalmbach.
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David Lynch: The Art of the Real, Berlin May 2012!
An Interdisciplinary International
Conference
The conference will gather renowned researchers and academicsform varied fields and cultural backgrounds focusing on the art of David Lynch. Given the popularity of the subject and the discussed media, the conference is specifically designed to be open to a broad public. Legendary Volksbühne, well established as a forum for vivid discussions and exchange of opinions, is popular for a large audience. The official conference language will be English.
| Do 28.06. | 13:00 Roter Salon Eintritt frei, | ||
| Fr 29.06. | 10:00 Roter Salon Eintritt frei, | ||
| Sa 30.06. | 10:00 Roter Salon Eintritt frei, | ||
Conference Profile:
David Lynch, born 1946, counts among the most renowned contemporary film artists. As one of few directors he managed to excel as well on the experimental side of the film d’auteur (e.g. Eraserhead) as well as in the Hollywood feature (such as Blue Velvet or Straight Story), not to forget his mystery TV serial Twin Peaks which coined a whole new genre. This outstanding position demands a closer scrutiny of this work in terms of the changed media conditions and esthetic implications at the turn of the 21st century. Until now, there has been no serious academic conference in Germany dealing with the complex intermedia influences and esthetic transfers from other arts in David Lynch’s film oeuvre. There are to name but a few exhibitions referring to Lynch’s esthetic relationships to Jackson Pollock or Francis Bacon, to specific design aspects, and to authors such as Franz Kafka or related to media issues (TV, comic strips, internet).
This conference, now, sets forth to follow the question which role the structure of these supposed influences play in the work of David Lynch. In addition, we will analyze if and how they define his special position within film-making and if they can thus be considered as a phenomenon of a new esthetic experience in terms of a changed media context.
Consequently, we will ask the question of a possible political dimension of Lynch’s work: Which critical value can be attributed to Lynch’s esthetics, if it is considered as a unique mise-en-scène of the non-representable “Real” of the Western post-industrial society?
Conference Structure:
The conference treats four areas, being discussed by three lecturers each over a total conference span of three days.
1. Psychoanalysis
2. InterMedia
3. Genre Composition
4. InterArt.
The lectures will last about 30 min. each, to be followed by discussions of approximately 30 min. The lecturers are coming from major universities in Germany, Switzerland, the Netherlands, France and the US.
http://www.volksbuehne-berlin.de/praxis/david_lynch_the_art_of_the_real_an_interdisciplinary_international_conference/
