I work closely with directors, costume designers, producers and actors/singers/dancers to conceptualize and define the desired look for each character.
My team and I need to be able to apply different make-up and hair techniques on this basis to achieve the desired look.
I am responsible for the budget and personnel management of the make-up team.
I ensure that resources and budgets are used effectively and monitor the quality and working hours of the team.
I also ensure compliance with the safety and hygiene regulations for the use of make-up artist products.
Make-up artists and actors have to harmonize well with each other personally. The right composition of the team inspires the preparation and application of make-up and hair.
From the artistic concept to the final realization, I create masks and mask parts that are perfectly tailored to the respective requirements.
I design and realize make-up and hairstyles that emphasize the personality and features of the character and have the best possible effect, especially on stage.
I design and create perfectly coordinated wigs and hairpieces using my extensive knowledge of styles and styles.
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
