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Author:   Peter M Boenisch (University of Kent, UK) ,  Thomas Ostermeier
Publisher:   Taylor & Francis Ltd
Imprint:   Routledge
Weight:   0.670kg
ISBN:  

9781138914469

ISBN 10:   1138914460
Pages:   292
Publication Date:   09 May 2016
Audience:   General/trade ,  College/higher education ,  General ,  Tertiary & Higher Education
Format:   Hardback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

Contents Acknowledgements Preface by Simon McBurney Chapter 1) Playing with the R(ealism) effect: An introduction to Thomas Ostermeier’s theatre work. Chapter 2) Ostermeier writings[1]: Towards a new realism. 2.1. Theatre in the age of its acceleration (1999). 2.2 Insights into the reality of human community: A defence of realism in theatre (2009). Chapter 3) Making theatre with Thomas Ostermeier. 3.1 Creating stage spaces like it is not possible anywhere else: Jan Pappelbaum on twenty years of inventing spaces for Thomas Ostermeier 3.2 Revealing truths about human existence: Lars Eidinger on 'acting Ostermeier' 3.3 A whole new world to explore: Sébastien Dupouey on his video artworks for Thomas Ostermeier’s theatre Colour plate section I Chapter 4) Ostermeier writings [2]: ‘It’s us’: Ibsen’s plays and contemporary worries 4.1 Theatre against Fear: Thomas Ostermeier in conversation with Àlex Rigola (2006). 4.2 Reading and staging Ibsen (2010). Chapter 5) Ostermeier at work [1]: An Enemy of the People (2012). 5.1 The dramaturg’s work: Florian Borchmeyer 5.2 The actors’ work: The path towards An Enemy of the People. 5.3 Ein Volksfeind around the world: The actors’ diary. 5.4 The artist’s work: Katharina Ziemke. 5.5 The assistant’s work: Christoph Schletz. Chapter 6) Ostermeier on directing. 6.1 The art of communicating: Thomas Ostermeier’s ‘inductive method’ of Regie. 6.2 A postscript on directing postdramatic theatre. And Shakespeare. Colour plate section II Chapter 7) Ostermeier at work [2]: Richard III (2015). 7.1 Totus mundus agit histrionem: Reading and staging Shakespeare (2014). 7.2 Preparing Richard III: The longing for the disavowed abyss (September 2014). 7.3 Rehearsing Richard III: A Diary (September 2014 to February 2015). 7.4 After Richard: Mission ‘Ensemble Acting’ (June 2015). Chapter 8) Ostermeier writings [III]: The politics of contemporary theatre. 8.1 ‘The more political we are, the better we sell’: A conversation about the political potential of directing classical drama and the nasty traps of today’s cultural industry (2014). 8.2 The future of theatre (2013). Chapter 9) Thomas Ostermeier: Work, 1994 - 2015. 9.2 Sources of the texts in this volume

Reviews

Essential - Well illustrated and expertly assembled, this volume deserves to be widely read by all interested in contemporary theater practice. - Choice

Essential - Well illustrated and expertly assembled, this volume deserves to be widely read by all interested in contemporary theater practice. - Choice Those wishing to study, and particularly to teach, the work of the best-known mainland European director to English audiences will find their task is made much easier by this volume, which is richly varied and will be accessible to students at all levels. - New Theatre Quarterly Boenisch and Ostermeier have done artistic and scholarly communities a service with this volume. - Contemporary Theatre Review

Author Information

Peter M. Boenisch is Professor of Dramaturgy at Aarhus University (Denmark), and the current president of the European Association for the Study of Theatre and Performance (EASTAP). Originally from Munich (Germany), he previously worked in the UK, among others at the Royal Central School of Speech and Drama. His research areas are Regietheater, dramaturgy, and the institutional conditions of theatre production in European theatre. Thomas Ostermeier is an internationally renowned theatre director, best known for his acclaimed productions of Hedda Gabler, Shopping and Fucking, and Hamlet. Since 2000, he has been Artistic Director of the Schaubühne Berlin. He became the youngest ever recipient of the Golden Lion award for his lifework at the 2011 Venice Biennial.

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