24. - 26. Januar 19: Deep Dive Dramaturgy
Adaptations of novels, curating thematic weekends, inventing a performance together with an artistic team – the job of the dramaturge has become more and more complex over the last decades. In today's theater, dramaturges are the center of communication between directors, ensemble, technicians, PR and the audience. What kind of trainings and studies are preparing for these varied tasks, what differences are there in the European context?
For a weekend students from Amsterdam (MA International Dramaturgy, University of Amsterdam), Krakow (MA Dramaturgy, Akademia Sztuk Teatralnych), London (MA Theater Criticism and Dramaturgy, Royal Central School for Speech and Drama) and Munich (MA Dramaturgy, Theaterakademie August Everding) will meet and dive deep into the mystery of dramaturgy. They will watch the following performances and meet dramaturges/team members for talks and workshops.
With Helena Eckert, Iga Gańczarczyk, Valerie Göhring, Adrian Herrmann, Tarun Kade, Matthias Lilienthal, Duska Radosavljevic, Kati Röttger, Caroline Schlockwerder, Christine Umpfenbach, Martin Valdés-Stauber a.o.
Doktor Alici (Premiere)
by Olga Bach
after "Professor Bernhardi" by Arthur Schnitzler
Director: Ersan Mondtag, Dramaturgy: Valerie Göhring
Trommeln in der Nacht / Drums in the night
by/after Bertolt Brecht
Director: Christopher Rüping, Dramaturgy: Katinka Deecke
after Johann Wolfgang von Goethe
Director: Leonie Böhm, Dramaturgy: Tarun Kade
By Toshiki Okada
Director: Toshiki Okada, Dramaturgy: Tarun Kade
PLEASE CHOOSE BETWEEN WORKSHOP I, II and III
Let’s come together. Right now. Oh Yeah.
with Caroline Schlockwerder
Fri and Sat 3-6pm
said. Today, resistance and change are as necessary as never before. Making art, in particular making theater, is becoming more and more complex. We need new ways of producing and engage with multiple disciplines and participants in a sustainable manner: multi-perspectival, provisional, non-hierachial and enquiring.
With new strands of dramaturgical work (devised theatre, dance, performance art), new material to work with and change of relationships with both space and audience the ‘old’ (traditional) dramaturg has been tranformed into a curator and facilitator who helps communicate between different cultural values. The ‘new dramaturg’ is closer to the centre of creation. By beeing “process-conscious’ the process’ ethics, aestetics and ecology etc., become dramaturgical concerns, too.
We take a close look at current practices, work strategies and methods to discuss the concept of collective creativity.
Caroline Schlockwerder studied Scenic Arts at the University of Hildesheim and Visual Performance at the College of Arts in Dartington. She worked as a dramaturge at Theater Aachen, Volkstheater München a.o. She is currently teaching Scenic Research at the Otto-Falckenberg-Schule for Acting and Directing in Munich.
Same same but different – adaptations for the stage
with Adrian Herrmann
Fri and Sat 3-6pm
of novels and movies have become a fixed component in the repertory
at German theatres. Obviously, theatre does not only rely on the
classical drama anymore. Theatre rather has to ask itself which
stories should be told in which way and by which means.
In the first part of the workshop we will examine several sorts of texts for their compatibility on stage and try to define some parameters for their adaptations. Do we need a new dramaturgical approach for this kind of work on texts?
In the second part we will try the new findings on two concrete and well-known examples: Kafka: Metamorphosis & Homer: Odyssey, Books 9-12. How can these texts be brought on stage and what could be a topcial reference if we don't only want to transform the text but translate in the sense of Walter Benjamin, meaning: to aesthetically-socially question the source material, to relate to it, to look for tensions between the old and the new. This might also bring up the question of authorship... (We will provide you with the texts soon.)
Adrian Herrmann studied Dramaturgy at Theaterakademie August Everding in Munich. He worked as a dramaturg for various independant projects as well as at Theater Konstanz for several years. In 2016, he came back to Munich to teach Dramaturgy at the theatre academy.
with Martin Valdés-Stauber
if actresses and actors are replaced on stage? For “Uncanny
Valley”, Stefan Kaegi (Rimini Protokoll) made a copy of autor
Thomas Melle in the form of a humanoid robot. Will the robot become a
performer whose facial expressions, gestures and language trigger
empathy – but then, empathy with whom? With Melle himself, who is
not there, or with the robot?
At the onset of the project „Uncanny Valley“ the pivotal dramaturgical question raised was whom to copy? Which body will tell which story? Which story should be told and whose doppelganger should therefore be build?
In this seminar we will retrace the process of developing the narration and plot of „Uncanny Valley“. Thereby we will work both with our personal stories and with the narration of Thomas Melle the protagonist of „Uncanny Valley“. Also we will discuss how stories could be embodied, represented and performed by (humanoid) machines on stage.
Martin Valdés-Stauber studied Sociology and Economics in Munich, Friedrichshafen and Berkeley. During the season 2017/18 he worked as a production manager at Münchner Kammerspiele and co-curated the site-spefic project „X Shared Spaces“. Since autumn 2018, he has been part of the dramaturgy team, working with Swiss director Stefan Kaegi („Uncanny valley“) and Libanese diretor Rabih Mroué („Kill the audience“).
Truth or dare - documentary theatre based on interviews
What do the Polish think about the British? Which prejudice exist between the Dutch and the Germans? And what did the parents and grandparents think and talk about these people? What opinions are based on reason and actual experience, what are prejudices? In this workshop we will discuss these questions together. We will get to know different research methods and interview techniques, and analyse and question the material to develop a first idea/ script for a documentary theatre project.
Christine Umpfenbach studied stage design in Berlin and directing at Goldsmiths College London. Since 2003 she has developed and directed several productions in a documentary approach, based on interviews, e.g. Gleis 11 (Track 11) for Münchner Kammerspiele about immigrant workers and Urteile (Judgements) for Residenztheater about NSU (National socialist undergrund). In 2014 she won the theatre price of the city of Munich.