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“The directing work of Thomas Ostermeier”статья Электронная публикация
- Авторы: Viktoria Volkova, Jitka Goriaux Pelechová, Boenisch Peter M.
- Сборник: special edition of the symposium proceedings "Tendencies in Contemporary Theatre Directing and Theatre-Directing Education"
- Том: 1
- Глава в коллективной монографии
- Год издания: 2019
- Место издания: Janáček Academy of Music and Performing Arts in Brno (JAMU in Brno) Брно
- Аннотация: This coauthored contribution investigates the rehearsal methods of German theatre director Thomas Ostermeier, “the most internationally recognized German theatre director of the present” (Boenisch and Ostermeier 2016, back cover), as he searches to achieve a spontaneous reaction and interaction between his actors on stage. How can such immediate, ‘true’, ‘pure’, not yet ‘censored’ by the brain responses to a stage partner’s action be created? How do actors become the creators of their own art, rather than serving as mere interpreters of the stage director’s instructions? What are their creative sources? And what can be the tools of a stage director willing to lead the actors to such an autonomous creative process? These questions count among the most important ones that Thomas Ostermeier’s work has revolved around across the past two decades. He gradually developed a specific working process that takes as its sources the Brechtian ‘inductive method’, while also containing variations of many elements of Stanislavsky’s system as well as some of Meyerhold’s legacy. Our chapter will depart from a general overview of some basic pillars of his rehearsal process, with a focus on the principles and approaches that put a Brechtian vision of theatre-making in an unusual relation to Stanislavsky’s legacy. The second part will then discuss in greater detail how Ostermeier applies his rehearsal methods with different artistic teams and working in different genres, drawing in particular on insights into the working processes towards The Seagull at the Théâtre de Vidy in Lausanne (2016) and Death in Venice/Kindertotenlieder at the Schaubühne Berlin (2012), as well as Ostermeier’s own interviews and writing. A final section will then position Ostermeier’s work more widely within the context of a ‘return to the social’ that characterises contemporary ‘post-conceptual’ theatre, that is theatre after the dominant paradigm of postmodernism (cf. Osborne 2018). In an original way, though, Ostermeier remains skeptical about the privilege afforded to an almost fetishized notion of reality in numerous directorial strategies of the present, which blend the stage world and the reality beyond the theatre, or which use reportage and documentary formats, as for instance in the work of Milo Rau and Yael Ronen, both of whom have previously worked at Ostermeier’s Schaubühne theatre.
- Добавил в систему: Волкова Виктория Игоревна