Multiple changes and structural debates are currently shaping the discourse on theatre. So it is only logical to also examine the task of stage directing with regard to production processes and aesthetics. In the coming summer semester, we will invite twelve directors to present their artistic position and enter into a conversation with us about their own work. At the same time, different aspects of this profession emerge among the diverse artists: How can one direct collectively? How can one work consistently on one's own aesthetic, sometimes over decades and in different institutional contexts and teams? What does it look like to walk through the municipal theatre? How does one succeed in entering the profession? How can stage directing be implemented without reproducing hierarchical structures? How can you practise directing and manage a theatre at the same time? HTA students can discuss these and many other questions with our guests: HTA stage directors, an alumna of the HfMDK, successful female directors, young directors, a director from children's and youth theatre, international directors and many others.
LECTURE AND ACCOMPANYING SEMINAR
Parallel to the lecture series sessions, a performance analysis seminar with Friederike Thielmann prepares the respective sessions in discussions based on video readings. Both events take place exclusively digitally and are usually held in German. Participation in the lecture series or the performance analysis seminar is also possible independently of the other event.
Lecture series: Thursdays 18:30 - 20:00, online
accompanying seminar: Fridays 10:00 - 13:00, online
Please register for the events or for selected sessions via Antigone Akgün, student assistant at the Hessian Theatre Academy: akguen_at_hessische-theaterakademie.de
When registering, please indicate for which series of events (lecture or/and seminar) or, if applicable, for which specific session you would like to register. You will then receive the necessary access data for the respective events or sessions.
Responsible: Prof. Marion Tiedtke, HfMDK Drama Department
Moderation: Eva Lange and Carola Unser (artistic directors Hessisches Landestheater Marburg); Prof. Martin Nachbar (HfMDK scenic body work); Prof. Dr. Nikolaus Müller-Schöll (Goethe University, MA dramaturgy/CDPR course); Dr. Philipp Schulte (management Hessische Theaterakademie); Friederike Thielmann (HfMDK lecturer directing); Prof. Marion Tiedtke (HfMDK training department acting)
Anta Helena Recke is a German-Senegalese director, dramaturg, conceptual artist and author of discursive as well as fictional texts. She studied Scenic Arts at the University of Hildesheim and was an assistant director at the Münchner Kammerspiele from 2015-2017, where she worked with Susanne Kennedy, Philippe Quesne and Amir Reza Kohestani, among others. She was voted Young Artist of the Year 2018 in Theater heute's critics' poll. In 2019, she received the International Theater Institute Award and participated in the residency program "Vila Sul" of the Goethe Institute in Salvador de Bahia. Her directorial works "MITTELREICH" and "Die Kränkungen der Menschheit", which deal with colonial amnesia and whiteness in Germany from different aspects, were invited to the Berliner Theatertreffen and the radikal jung Festival in 2018 and 2020. She collaborates in Germany and internationally in various constellations with Jeremy Nedd, Joana Tischkau, Julian Warner, and Schwabinggradballett, among others, and has published texts in publications such as " Allianzen: Kritische Praxis an weißen Institutionen" (transkript Verlag) and "Staging Blackness. Representations of Race in German-Speaking Drama and Theater" (Michigan Press). In 2020, she was awarded the Tabori Award by the Fonds Darstellende Künste.
Leonie Böhm grew up in Heilbronn, went to the Waldorf School there, and is now the mother of two children, who constantly encourage her to question herself, to develop further, and to claim a whole other reality in her life. With three degrees to her credit, she is versatile and today works as a director, performer and visual artist both in the independent scene and at the municipal theater. Initially, she studied art and German language and literature at the Gymnasium level and trained as an art mediator under Carmen Mörsch and Ulrich Schötker at documenta 7. The fundamental question: What is an authorized speaker in a mediation situation and what power relations exist there, as well as the search for mature speakers and successful communication accompany her working method to this day. In her art studies, which she completed in 2011 at the Kunsthochschule Kassel as a master student with Urs Lüthi, she tried to give these questions a wider range of forms of expression. Leonie Böhm finally arrived at the theater in order to shape artistic processes in collaboration with people. With her work Nathan die Weise, one of her very first works was invited to the renowned Munich young talent festival Radikal Jung. Today she works among others at the Munich Kammerspiele, the Thalia Theater Hamburg, the Theater Bremen and the Theater Oberhausen. She is still interested in canonical texts, how one relates to them and writes one's own needs and ideas into them. Her productions convey an attitude that is equally vulnerable and demanding, and that believes in the human being who is both mature and playful.
Brit Bartkowiak studied theatre directing at the Theatre Academy in Hamburg. From 2009 to 2013 she worked as an assistant director at the Deutsches Theater Berlin.
Her works have been invited to renowned festivals and guest performances: New Plays from Europe, Theatre Biennale Wiesbaden, Sibiu, Dresden, Bratislava, Luxembourg, Prague Theatre Festival of German Language, Mülheimer Theatertage Stücke, Heidelberger Stückemarkt, Bayrische Theatertage, Schauspielschultreffen Vienna.
She works as a director at the Deutsches Theater Berlin, the Theater und Orchester Heidelberg, the Düsseldorfer Schauspielhaus, the Staatstheater Mainz, the Volkstheater München, the HLTM and the Schauspiel Hannover, among others. Brit Bartkowiak is senior director at the Theater und Orchester Heidelberg since February 2021.
Rabih Mroué, born in Beirut and currently living in Berlin, is a theater director, actor, visual artist and playwright. He is a contributing editor at The Drama Review /TDR (New York). He is also a co-founder of the Beirut Art Center (BAC).
He was a fellow at the International Research Center: Interweaving Performance Cultures/ FU/Berlin from 2013 -2015. He was a theater director at Münchner Kammerspiele (Munich) from 2015 - 2019.
His works include: Cheers to our wishes (2020), Last But not Last (2020), Boborygmus (2019), Sand in the eyes ( 2017), So Little time (2016), Ode to Joy (2015), Riding on a cloud, (2013), The Pixelated revolution (2012), The Inhabitants of images (2008), Who's Afraid of Representation (2005).
Nele Jahnke, as a longtime artistic collaborator and artistic co-director of the Theater HORA in Zurich, she has tried to strengthen the visibility and participation of artists with a "disability" in the theater and in public perception. She directed various projects with the HORA ensemble and initiated mediation and audience formats.
Together with M. Elber and M. Bugiel, she conceived and directed the long-term experiment Free Republic HORA, in which the HORA ensemble realized their own directorial works. Nele Jahnke grew up in Ostholstein and Berlin.
She studied theater directing at the Zurich University of the Arts,is part of the group formation: planetary system and also work as a freelance performer and director. In 2019 she received the Culture Promotion Award of the Canton of Zurich.
From 2020 she will be part of the artistic management team of the Kammerspiele as dramaturg and director.
Manuel Gerst studied applied theater studies in Giessen with Heiner Goebbels and stage and costume design in Munich with Katrin Brack. He is a founding member of the performance group Monster Truck, which has been realizing projects at the interface between theater and visual arts in the international independent scene and at the municipal theater since 2005. In addition, works as a stage and costume designer. In 2019 he was awarded the Hein Heckroth Förderpreis for stage design.
Hannah Biedermann (born 1982) is a freelance director and performer who, following her studies in scenic arts in Hildesheim, develops performative and interactive formats beyond classical narratives for children and young people. She advocates for children's right to their very own art, but always strives for a contemporary form and complex social issues. In her play developments, a theme is never chosen exclusively from the audience's perspective, but is always examined and told from the adult perspective of the makers* as well.
In 2007 Hannah Biedermann founded her theater group pulk fiktion, with which she has since been very successful in setting new accents in the scene and touring national and international festivals. The productions have been awarded the Westwind Jury Prize, the Heidelberg Youth Plays Prize or the BestOFF Prize, among others. pulk fiktion received the George Tabori Förderpreis in 2016. In 2016, Hannah Biedermann also received the Förderpreis für junge Künstler NRW and in 2017 was awarded the FAUST Prize in the category "Best Direction Children's and Youth Theater".
She has directed at the Schauspielhaus Bochum, Schauspielhaus Düsseldorf, Nationaltheater Mannheim, Theater Bremen, Staatstheater Mainz, Staatstheater Karlsruhe, Stadttheater Ingolstadt, Junges Ensemble Stuttgart, Staatstheater Braunschweig, and the GRIPS Theater Berlin. She also regularly lectures on contemporary forms of children's and youth theater, gives training workshops and seminars, and is a frequent guest on panels on the future of children's and youth theater.
She is mother of two children.
Born in Friedrichshafen in 1977, Susanne Kennedy studied directing at the Hogeschool voor de Kunsten in Amsterdam. In 2011 Johan Simons invites her to work with the ensemble of the Münchner Kammerspiele. For her production Fegefeuer in Ingolstadt, Susanne Kennedy is voted Young Director of the Year by the trade magazine Theater heute and awarded the 3sat Prize. The productions Fegefeuer in Ingolstadt and Warum läuft Herr R. Amok? are invited to the Theatertreffen in Berlin in 2014 and 2015. In collaboration with the Ruhrtriennale, the music theater course Orfeo is created in 2015 and in 2016, in collaboration with the visual artist Markus Selg, the multimedia piece MEDEA.MATRIX with Birgit Minichmayr in the leading role. In 2017, she staged Die Selbstmord-Schwestern - The Virgin Suicides at the Münchner Kammerspiele Berlin, based on motifs from the novel by Jeffrey Eugenides, which can also be seen at the Volksbühne Berlin in 2018.
In the same season, she brings out her first world premiere at Volksbühne Berlin with Women in Trouble - a hyperrealistic multiplication cabinet that traces the novel power relations between nature, living beings, culture and technology.
In 2017, Susanne Kennedy is awarded the "Europe Prize Theatrical Realities."
In 2019 Coming Society follows, an installative performance, jointly conceived and realized with Markus Selg, in which the audience becomes an actor in an evolutionary game around the question of the future form of community. Most recently, Lena Newton's stage design in Kennedy's adaptation of Anton Chekhov's Three Sisters (2019) at the Münchner Kammerspiele, wins the title of "Stage Design of the Year" in Theater heute magazine's critics* poll.
In their new collaborative work, which premiered at the Volksbühne in January 2020, Susanne Kennedy and Markus Selg create a model for creation. ULTRAWORLD explores consciousness as a virtual construction of the world and simulates the transformation of human beings in it.
Laura Linnenbaum, born in 1986, studied directing at the Frankfurt University of Music and Performing Arts. Since the season of 2011 she has been directing freelance and initially as a fellow and assistant director at Schauspiel Frankfurt, followed by productions at theaters in Bonn, Osnabrück, Münster, the Staatstheaters in Kassel and Hanover, and the Berliner Ensemble, among others.
In 2016, she was responsible as curator and artistic director for the theater festival " Unentdeckte Nachbarn" (Undiscovered Neighbors) in Chemnitz, which was awarded with the Chemnitz Peace Prize.
For the world premiere of "Homohalal" 2017 at Staatsschauspiel Dresden, she was nominated as director of the year in Theater heute. "Homohalal" was also invited to the 43rd Mühlheimer Theatertage. Her works "Der zerbrochene Krug" at the Düsseldorf Schauspielhaus and "Kafkas Haus" at the Saarländisches Staatstheater were again nominated in Theater 2019 as best production of the year.
Florian Lutz, born in Cologne in 1979, studied musicology, art history and philosophy at Humboldt University in Berlin. He has been artistic director of the Halle Opera since the 2016/17 season. Under his leadership, the opera was named " Beste Theater abseits der Zentren" (Best Theater Outside the Centers) in the 2018 critics' poll of the magazine "Die Deutsche Bühne" (The German Stage), among many other awards, received the German Theater Prize "Der Faust" in 2017 for the cross-disciplinary spatial stage "Heterotopia" and the Theaterpreis des Bundes in 2019. As successor to Thomas Bockelmann, he will take over as artistic director of the Staatstheater Kassel in the 2021/2022 season.
HENRIKE IGLESIAS is a theater collective based in Berlin and Basel and was founded in 2012 by Anna Fries, Laura Naumann, Marielle Schavan and Sophia Schroth during their studies of creative writing and cultural studies and aesthetic practice at the University of Hildesheim. In the meantime, lighting, video and stage designer* Eva G. Alonso and sound designer and musician Malu Peeters are also part of the crew. Their theatrical scope ranges from the popular to the personal to the political. They understand pop cultural and mass media phenomena as a mirror of social conditions and grievances and have made it their task to illuminate them from explicitly feminist perspectives. They like to appear as Feminist Killjoys, DJ Henrike Iglesias and as Internet users. They are dressed by costume and set designer Mascha Mihoa Bischoff.
With their debut WIR KOMMEN NICHT AUS DEM SHOWBIZ (AUCH WENN MAN DAS VIELLEICHT KÖNNTE) they won the audience award at the 100° Berlin Festival at Sophiensæle in 2013. In 2014, I CAN BE YOUR HERO BABY was produced at the Schauspiel Leipzig residency. For the festival MÄNNER IN GARAGEN of the Sophiensæle they developed in 2014 the performance EROTISCHE AUSENREINIGUNG IHRES PKWS OHNE TROCKNUNG OR: CAR WASH. This was followed in 2016 by the performance GRRRRRL, in which they examined attributions of "evil" in relation to women*, in 2017 #HELDINNEN at Theater Bielefeld in collaboration with actresses from the ensemble, and for the first time in the context of the festival The Future is F*E*M*A*L*E* the workshop format ACADEMY. The ACADEMY is a feminist dream school and is perfectly suited as a supporting program for festivals. In 2018, Henrike Iglesias performed a flying act in 1968 - EINE BESETZUNG DER MÜNCHNER KAMMERSPIELE and produced the live feminist porn OH MY, which is now touring. Until 2020, Henrike Iglesias are in a double pass partner*ship with the Münchner Kammerspiele and the jungen theater basel, which resulted in the production FRESSEN at the Kammerspiele in 2019 and the production UNTITLED  with young performers from Basel at the jungen theater in 2020.
During the Corona / COVID-19 pandemic, Henrike Iglesias produced online versions of ACADEMY and UNTITLED , which were shown at Kammer 4 of the Münchner Kammerspiele, and as part of the festival Risk & Resilience at Sophiensaele Berlin. Summer 2020 saw the creation of the interactive competition show about performance pressure UNDER PRESSURE, in which the audience is the jury and votes on THE BEST, which can be experienced both live in the theater and at home on their own smartphones and screens.
From the Henrike Iglesias collective, Laura Naumann and Eva G. Alonso will be our guests.
Carola Unser: Born in the region of Palatinate, she studied pedagogy and theology after training as a farmer. At the same time, she completed training as a play and theater pedagogue (BUT). She worked in various projects in the socio-cultural field and in cultural management (OPEN OHR Festival Mainz), taught among others at the KFH Mainz, taught at the Theaterpädagogisches Zentrum Lingen and since summer 2019 gives workshops in the international context for the GIZ (Gesellschaft für internationale Zusammenarbeit). From 2004 to 2008 she studied directing at the Hochschule für Musik und Theater. As part of her studies, productions took place at the Thalia Theater Hamburg, in the Malersaal of the Deutsches Schauspielhaus, at Kampnagel. She was also invited to various festivals (including Unidram-Potsdam, Premieres Festival-Strasbourg). From 2008 to 2011, Carola Unser directed die bühne e.V. - the theater of the TU Dresden. Further stations: Theater Kiel/Werftpark as well as various productions in the off-scene of the Rhine-Main area and at the Pantha Theatre in Caen. From 2012 to 2016 she directed the Junge Landesbühne Niedersachsen-Nord. In 2017 she developed the play "My lovely Europe - an evening at home" with the 3rd year of the University of Arts in Graz, which was invited to the NONSTOP!, the International Drama School Meeting 2017 at the Theater Chemnitz.
Since the 2018/19 season, she has been co-directing the Hessisches Landestheater Marburg with Eva Lange.
Eva Lange studied Protestant theology and German studies as well as educational psychology and pedagogy in Göttingen. During her school years and studies, she worked with various theater groups and interned at several theaters in the area of directing.
After her studies and traineeship, she went to the Theater Oberhausen as an assistant director in 2002, where she directed "Das kunstseidene Mädchen" and was awarded the Oberhausen Theater Prize for this work. This was followed by engagements at the Städtische Bühnen Münster and the Staatstheater Kassel, where her productions included "The new electric ballroom", the world premieres of "Himmelsstürmerin" and "Vor-Ort-Familie", "Drei Mal Leben" and most recently "Konsens".
As a freelance director, Eva Lange has worked not only in Münster and Kassel, but also in Wilhelmshaven, Ingolstadt, Koblenz, Wuppertal, Stendal, Chemnitz and Leipzig.
At the Landesbühne Niedersachsen Nord in Wilhelmshaven, she directed Max Frisch's "Andorra," among other productions. For this work, together with her set designer Diana Pähler, she was honored in the 2007/2008 season review of the Deutsche Bühne in the category "outstanding achievement in the field of stage/set design."
In 2011 she was invited to the Landesbühnentage in Detmold with Peter Weiss' "Die Ermittlung". This production, as well as "Bilal - Leben und Sterben als Illegaler", "FaustIn ans Out", "Die Schutzbefohlenen", "Im Westen nichts Neues" and "Deportation Cast" (invited to the 41st Open Ohr Festival 2015 in Mainz) are among her most important theater works for Wilhelmshaven in terms of content and aesthetics.
From 2013-2017 head stage manager of the Landesbühne Niedersachsen Nord.
Since the 2018/19 season, she has been co-directing the HLTM with Carola Unser.
The duo Hofmann&Lindholm, both stage directors and authors, realises projects at the intersection of scenic, visual and acoustic art. Among their conceptual productions are numerous scenic instructions, scores and actions that Hannah Hofmann and Sven Lindholm have been realising with changing accomplices since 2000. Works by Hofmann&Lindholm are presented on stages of the professional independent scene and the municipal theatre, in galleries and exhibition halls, in public spaces and on the radio.