Christoph Marthaler’s new creation “After the last few days. A late evening ”in the musical center is dedicated to composers such as Pavel Haas, Viktor Ullmann, Alexandre Tansman, Józef Koffler, Erwin Schulhoff, Szymon Laks and Fritz Kreisler who have been driven out of Prague and Vienna. They were deported, murdered or emigrated. Many of the compositions were created in the Theresienstadt concentration camp, some of them remained fragments…
The Needcompany is an international collective of idiosyncratic theater makers and performers founded in 1986 by Jan Lauwers and Grace Ellen Barkey and based in Brussels. It was part of Flanders’ avant-garde as early as the early 1980s, which triggered a radical change in the arts. Lauwers’ background as a visual artist strongly shaped his approach to theater and led to a highly individual and in many ways groundbreaking way of expression that explores theater and its meaning.
We are young people from the Ruhr area aged 17-20, born in Germany, fled or immigrated to Germany. Since 2015 we have been doing our own projects as a young artist collective of the Junge Triennale. We want to make a difference. We want to show what it’s like to be young: crazy. Free. Confused – by society, our parents, by ourselves …
The focus of the performance is György Ligeti’s Requiem from 1965. From the classical form, the composer chose only those parts that are dedicated to grief and anger. Kornél Mundruczó, Hungarian film and theater director, whose disturbingly realistic narrative style made him internationally famous and who last year scenically examined Hans Werner Henze’s oratorio The Raft of the Medusa for the Ruhrtriennale, places the theme of repetition at the center of his exploration with this powerful work…
For the Ruhrtriennale, the film director, theater maker and writer Mariano Pensotti, who was born in Buenos Aires in 1973 and who always stages his own texts, is building a walk-in model of Diamante in the Kraftzentrale in Duisburg. Diamante is a special place, a privately owned city that is not unique to Latin America. 24.8. – 2.9.2018, Kraftzentrale, Duisburg.
“In the event that I fail Works , there may be someone else who will try to work out my thoughts. It could be that the sketches I made make a lot more sense if you look at them from the perspective of someone who is not myself. ”(Charles Ives)
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.
In 2018, there will once again be a change in the artistic direction of the festival. As always, this is linked to the programmatic claim of renewal. The dramaturge Stefanie Carp and the artiste associé director Christoph Marthaler have been appointed. Stefanie Carp describes “today” as an “in-between time”. A time characterized by millions of migrants and global distribution and climate wars.
For her program, she invites international artists from the African and South American continents, Asia, Europe and North America. It begins with the production The Head and The Load by South African artist William Kentridge, who deals with the history of his country in his artistic practice. The production raises questions: Who gets to tell whose story and who gets to be on stage? The world premiere of Universe, incomplete of the unfinished Universe Symphony by Charles Ives, is a masterpiece from the Marthaler-Viebrock cosmos. Titus Engel conducts the Bochum Symphony Orchestra in Bochum’s Jahrhunderthalle. This season’s program is shaped by many choreographers, including the dancer and activist Mamela Nyamza with Black Privilege, the choreographer Serge Aimé Coulibaly with Kirina and Exodos / EΞΟΔΟΣ by Sascha Waltz. Diamante is also large in size: this is the name of a workers’ settlement in the Argentinian jungle. The author and director Mariano Pensotti is building a theatrical settlement of the same name in Duisburg’s Kraftzentrale. What used to be the factory estate in the Ruhr area is now the private city of the 21st century. Safe room or surveillance room?
In her first season, Stefanie Carp also triggers widely acclaimed discussions. The debate about the band Young Fathers and its connection to the BDS movement is central. As part of this, the festival invites you to the panel discussion “Freedom of the Arts”. It is about the tense relationship between freedom of opinion and freedom of art and about personal and social responsibility in the context of German history. Opinions differ widely and it remains to be seen whether an agreement will be possible.
Source: RUHRTRIENNALE
