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.
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
