An awakening experience without redemption. Wake up from sleep and feel that someone stranger has entered your home. Wake up from a nightmare to find that you haven’t slept at all. The security is stolen, it’s getting hot, it’s getting cold. You are no longer alone in your body, the unknown has taken root. The feeling of not feeling anything, a moldy state, a deformation maybe. A pain that hurts so much because you only guess it. Holes are torn, memories are lost. Everything is here, nothing is now. You are robbed of yourself, an empty monstrance.
It can only be described as daring when a composer has the plan to set the Tristan and Isolde material to music. If this composer – despite Richard Wagner – also puts this plan into action and ultimately achieves international breakthrough with the work, it speaks to the individuality and quality of the artist and his style.
Until the beginning of the 19th century, the world of the Alps was a place of superstition and gloomy conjectures. It was believed that the mysterious Giant Mountains in the heart of Europe were home to dragons, monsters and witches.
He is considered one of the greatest painters in the world, admired by Rembrandt, Van Dyck and all the other geniuses who follow him: Peter Paul Rubens, born in 1577 in Siegen, Westphalia, industrialized art and built one of the largest painting workshops in Europe. But that’s not all: until shortly before his death, he was also one of the most influential diplomats – and on behalf of various courts.
When Bernd Alois Zimmermann presented the score of his opera The Soldiers to the Cologne Opera Director in 1960, he quickly passed his judgment: “Unplayable”. A brutal verdict for a composer whose outsiderhood in musical life did not arise from an attitude – Zimmermann’s Works were much more clearly marked by war experiences, but also by a strictly Catholic family. Discouraged, the composer initially set the work aside, but persistent friends repeatedly urged him to stick to his Soldiers and revise the opera if necessary.
I work closely with directors, costume designers, producers, and actors/singers/dancers to conceptualize and define the desired look for each character.
Based on this, my team and I must be able to apply various makeup and hair techniques to achieve the desired look.
I handle the budget and personnel management of the makeup artist team.
In doing so, I ensure that resources and budget are used effectively and I monitor the team’s quality and working hours.
Additionally, I ensure compliance with safety regulations and hygiene standards for the use of makeup products.
Makeup artists and performers must have good personal chemistry. The right team composition enhances the preparation and application of makeup and hair.
From the artistic concept to the final implementation, I create masks and prosthetic pieces, perfectly tailored to the respective requirements.
I design and create makeup and hairstyle designs that emphasize the character’s personality and features and achieve the best possible effect, especially on stage.
With extensive knowledge of styles and implementation methods, I design and create perfectly matched wigs and hairpieces.
A Ruhr Triennale directorship lasts three years. Even towards the first edition, the audience from the Ruhr area shows great openness. Open to the unknown and free in their perception, they try things out and go along with eccentricities. In this sense, the change to the second artistic director in 2005 is also accompanied by curiosity. The German director and theater maker Jürgen Flimm is appointed.
Flimm and his team go backwards culturally and intellectually with their program over three years: Romanticism – Baroque – Middle Ages. This gives the festival and the invited artists a theme to work with.
The first season is characterized by German Romanticism, and connections to the early days of industrialization in the Ruhr area become apparent. “Nights Underground” by Andrea Breth and Christian Boltanski in the mixing plant of the Zollverein Coking Plant is an exploration of unknown depths, a traversing of abysses, and like a timeless floating without romantic transfiguration. In Gladbeck, Alvis Hermanis stages Sorokin’s “The Ice”. This, too, is a kind of searching station theater. Coming to Bochum for the “School of Romanticism” are: Patti Smith (who of course also gives a concert), Michel Houellebecq, Olga Neuwirth, and Haroun Farocki. Sven-Eric Bechtolf and Franui invent an exuberant and joyful homage to alpinism – whose beginnings coincide with Romanticism – with “Stones and Hearts” for the Power Plant in Duisburg. The musical theater creation “The Trojan Boat” by the music band Mnozil Brass is also of beautiful lightness and subtle humor.
Source: RUHRTRIENNALE
