1971 » Federal Republic of Germany » Stage design and costumes

NĚMECKÁ SPOLKOVÁ REPUBLIKA

The exhibition gives an idea of the personalities who today in the Federal Republic of Germany design sceneries for the big and small stages. In so far it is pointing more towards individuals than to the actual production of about 170 theatres. The selection is restricted to works of living artists; it comprises the entire period after the end of the war, which for directors, actors and especially for stage designers has been a time of new, unlimited development. In it the German stage decor was being brought once more into connection with the evolvement of modern art. Hence there are missing such important and influential stage designers as Caspar Neher or Teo Otto who were both closely united with the work of Brecht, this one also to Max Frisch and Friedrich Durrenmatt. Today they are — a few years after their death — historical figures, still chiefly effective in relation to and as counterpoints for the rising generation. This very spontaneous collection supplies all the same a sufficient survey of all artistic tendencies in German stage designing during the last 25 years. It shows the continuing monumentalism in opera, and its decline; the big part that surrealism (suppressed under Hitler) was gaining in stage designing in the fifties and is obtaining once more right now; it shows the austerity of Brechťs stage, expressive spaces of experience and the technically determined scaffolding construction; the trace of irony which is manifesting itself with sublime geometrical skill; it shows the influences from outside, as by Josef Svoboda who in the Federal Republic has strongly stimulated the variable light decors, but who has also given impulses resulting from the impetus of the happenings and mainly from pop art. The big sluice for this was especially the Theatre in Bremen where Wilfried Minks was able to develop into the leading German stage designer (in collaboration with dominating stage directors as Peter Zadek, Peter Palitzsch, Kurt Hiibner, Michael Gruber and Rainer Werner Fassbinder). His work has found followers (as previously the work of Neher, Otto, Willi Schmidt). Some of the stage designers, especially the younger ones, show themselves only by photographs because they cannot show themselves any longer in a different way; they have given up the drawn design which formerly was unconditional for the achievement of a production, and are now working only with models or sketches of constructions. Therefore only the stage photo is left to show the scenic capacity, although particularly in the photo much of the effective space impression gets lost. The specific articulation, too, of the new materials, the big wooden compartments by Kistner, the plastics of foil and mirror arrangement by Minks cannot be transmitted either by sketch or photo. None of the artists who are presenting here for the first time a view of contemporary stage designing — also the Federal Republic of Germany has not shown a collection of this kind before — have, of course, intended their work for such an exhibition. The exposed variety is the total of many isolated experiments, (of which the best products are often no longer available, their conserving having been neglected sometimes when they were overcome by new achievements).

Exhibiting artists / ateliers

• Rudolf  Heinrich

Additional information: Born in 1926 in Halle/Saale. He studied painting at the Municipal Arts School in Giebichenstein. He made his debut with the stage sets for Hansel und Gretel, on the basis of which he became an assistant in the Municipal Theatre in Leipzig. Between 1950 and 1954 he was in Halle as first stage designer and between 1954 and 1961 he was chief stage designer with W.Felsenstein at the Komische Oper in Berlin. Since 1961 he lives as a free lance artist in Munich, while collaborating with numerous theatres at home and abroad, among others with the La Scala in Milan and the Metropolitan Opera in New York. He has designed the stage sets for the Salzburg Festivale, for theatres in Zürich, Vienna and elsewhere. Since 1964 he is a professor of stage design at the Academy of Arts in Munich. As a collaborator of Waiter Felsenstein he has gained international acclaim. He has been a guest stage designer at the Municipal Theatres of Frankfurt am Main, at the State Opera in Hamburg, the State Opera and Drama Theatre in Munich, the Opera and Drama Theatre in Zurich, the La Fenice Theatre in Venice. In 1963 he made his debut as a stage director. His productions of Lulu for Santa Fe in 1963, The Marksman for the Metropolitan Opera in New York and Measure for Measure in Munich should especially be mentioned. He has been a guest in Leipzig and in Berlin in the German Democratic Republic, where he collaborated on productions of the Ring, Kata Kabanova by Janáček, and The Magie Flute. He participated in the Prague Quadrennial in 1971.

Exhibiting works

• Odon von Horvath: (Figaro Gets a Divorce ), 0
  

  
  
  
• Pierre Beaumarchais: (The Marriage of Figaro ), 0
  
  
  
• Ita Maximowna (Ita Maximovna)

Additional information: Born in 1914 in Pskov. After graduation from a private art school in Paris she studied from 1928 at the Kunstschule des Westen in Berlin under E. Freytag and J. Bohland. During the war she worked in Geneva and in Paris. She designed her first stage set in 1945 for the Renaissancetheater and the Hebbeltheater in West Berlin, where she was until 1952. Then she collaborated with the Hamburg Schauspielhaus and State Opera. Among her most important stage designs are the sets for The Madwoman of Chaillot by Giraudoux, directed by Stroux; for A Streetcar Named Desire by T. Williams, directed by B. Viertel; for Preussisches Märchen by Blacher, and for Brod's dramatization of The Castle by F. Kafka, directed by A. Lippert. The designs to a number of stage sets for the grand operas of R. Strauss, Verdi and Mozart have made her one of the foremost stage designers working at present. She collaborates with theatres in West Berlin, Vienna, Salzburg, with the La Scala in Milan, The Metropolitan Opera in New York, with theatres in Glyndebourne, Edinburgh, San Francisco, Munich and elsewhere. In 1953 she obtained the West Berlin Great Prize and in 1971 the Prize of the Teatro Venice. At present she is working for the San Francisco Opera. She participated in the Prague Quadrennial in 1971.

Exhibiting works

• Giuseppe Verdi: (A Masked Ball), 0
  
  
  
• Hans Aeberli

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Exhibiting works

• Jaques Offenbach: (Orpheus in the Underworld), 0
  

  
  
  
• Sibille  Alken-Markus

Additional information: Born in 1937 in Berlin. After the Abitur, she studied from 1956 to 1959 under Teo Otto at the Kunstakademie in Kassel. Under his direction, she spent three months doing practical work at the Schauspielhaus Zurich. From 1959 to 1960, she had her first engagement as costume and stage designer at the Theater der Stadt Bonn. Then she was guest designer at the Landestheater Darmstadt, where she worked under Schweikart on Brechťs adaption of Moliēre's "Don Juan", and her designs strongly influenced this production. She has also worked as guest designer at the Burgtheater in Vienna and at the Städtische Bühnen Frankfurt..

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Exhibiting works

• B. Brecht - Moliére: (Don Juan), 0
  
  
  
• Odon von Horvath: (Italian Night), 0
  
  
  
• Heinz Balthes

Additional information: Born in 1937 in Ediger an der Mosel. He was a pupil of Teo Otto, then stage designer at the Kammerspiele Dusseldorf, and he directed at Düsseldorf and Heidelberg. He was principal stage designer at the Freie Volksbühne Berlin. He has also done television design for Radio Bremen, and since 1967 he has worked with Ita Maximowna at the Hebbel- and Berliner- Theater as stage designer and is also a member of the theatre board.

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Exhibiting works

• C. Sternheim: (Tabula rasa), 0
  
  
  
• Ruodi Barth

Additional information: Born in 1921 in Basel. He was awarded a scholarship to study commercial art at the Kunstgewerbeschule in Basel, where he qualified with the final diploma. Until 1950 he worked as a freelance commercial artist. From 1950 to 1953 he worked as stage designer at the Stadttheater Basel, and then untii 1963, at the Staatstheater Wiesbaden. From 1963 to 1970 he was artistic director of the Department of Stage Design in Darmstadt. Hist most important design work has been in cooperation with Hans Bauer (Barlach, Lorca, Giraudoux), Leopold Lindtberg, Gustav Rudolf Sellner, Gerhard F. Hering ("Iphigénie", which was shown in Paris and Oslo), Barlog and Bohumil Herlischka.

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• Max Bignens

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Exhibiting works

• Odon von Horvath: (Tales from the Vienna Woods ), 0
  
  
  
• Dirk von Bodisco

Additional information: Born in 1940 in Berlin. After having finished his studies at the Hochschule für Bildende Künste in Berlin (in Willi Schmidťs class for applied painting), he was engaged by the Städtische Bühnen in Frankfurt. His first work as stage designer was for Brechťs "Furcht und Elend des Dritten Reiches" in 1968. In 1969 he went to the Schauspielhaus in Hamburg, and now he is assistant designer to W. Minks at the theatre in Bremen.

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Exhibiting works

• H. Klipphardt: (Sedanfeier), 0
  

  
  
  
• Jürgen Dreier

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Exhibiting works

• Giuseppe Verdi: (Falstaff), 0
  
  
  
• Max Fritzsche

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Exhibiting works

• Robert E. Sherwood: (The Petrified Forest ), 0
  
  
  
• Knut Hamsun: (Munken Vendt), 0
  
  
  
• Klaus Gelhaar

Additional information: Born in 1938 in Königsberg. From 1959 to 1962 he studied in Berlin; from 1962 to 1965 he worked as stage designer at the theatre in Ulm; and from 1965, for three years, he worked as stage designer and assistant to Wilfried Minks in Bremen, where he had his first notable success. Hans Peter Doll engaged him in 1968 as stage designer and chief designer for the Städtische Bühnen in Heidelberg. From 1972 he has been engaged by Peter Palitzsch to work in Frankfurt. Gelhaar has become famous particularly for his designs for productions of Hans Neuenfels, which have enabled him to work as guest designer in Bochum, Bremen, Mannheim, Munich and Stuttgart. These productions include Peter Weiss's "Marat/Sade" (1968); Terson's "Zigger-Zagger" (1969); Büchner's "Danton" (1969) and Strindberg's "Miss Julie" (1970). In collaboration with Peter Stolzenberg, at present Intendant in Heidelberg, he produced Brechťs "Galileo Galilei" and Shakespeare's "Macbeth" (1970).

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• Michael Goden

Additional information: Born in 1939 in Gleiwitz(Gliwice (Oberschleisen). After studying at the Staatliche Hochschule für Bildende Künste under Willi Schmidt, he worked freelance for television. Since 1964 he has been stage designer and costume designer at the Hessiches Landestheater Darmstadt. He has worked together with Hans Bauer, Heinz Hilpert, Josef Kreindl, Deryk Mendel, Bohumil Herlischka and others.

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• Erich Grandeit

Additional information: Born in 1915 in Magdeburg. Painter and stage designer. From 1931 to 1933 he studied at the Landeskunstschule Karlsruhe, and his first engagement was with the "Oper im Schiller-Theater" in Hamburg-Altona. Until 1945 he was forbidden to practice. After the war he was first of all a freelance painter, and then worked in various Hamburg theatres. He has worked as guest designer in Basel (Komedie, Stadttheater), Berlin (Komedie, Tribüne, Renaissance- and Schiller- Theater), Vienna, and finally with the Städtische Bühnen in Frankfurt. In 1962 he received the lst Price of the artisťs club "Die Insel" for his stage design sketches.

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Exhibiting works

• Bertolt Brecht: (Happy End), 0
  
  
  
• Eugene Ionesco: (Amédée, or How to Get Rid of It ), 0
  
  
  
• Ekkehard Grübler

Additional information: Born in 1928 in Berlin. After the Abitur he studied at the Hochschule für Bildende Künste, and at the same time at the Free University of Berlin, where he studied history of art, English and drama. Then he went as an exchange student to Yale University, New Haven, USA, where he studied stage composition under Josef Albers. In 1951 he studied in Salzburg on a scholarship awarded by Harvard University. From 1953 to 1956 he was assistant to and collaborator of Caspar Neher in Berlin, Vienna and Salzburg. In 1956 Harry Buckwitz engaged him for the Städtische Bühnen at Frankfurt, and from 1960 to 1965 he was chief designer in Kassel, where he created important sets under Neugebauer, Herlischka and Christoph von Dohnanyi. From 1965 to 1967 he was chief designer in Frankfurt, where he worked above all on productions by Brecht, on Berlioz's "La Damnation de Faust", and Debussy's "Péleas et Mélisande". From 1967 to 1968 he worked under Egon Monck in Hamburg, and also as guest designer for Rudolf Liebermann. From 1969 he has been chief designer at the opera of the Städtische Bühnen Frankfurt. He has had commissions as guest designer in Salzburg, Vienna, Munich, and Recklinghausen. He has repeatedly worked for television, including the first colour production of Peter Weiss's "Marat/Sade".

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Exhibiting works

• Igor Stravinsky: (Oedipus Rex), 0
  
  
  
• Arnold Schönberg: (Moses and Aaron), 0
  

  
  
  
• Fabius von  Gugel

Additional information: Born in 1916 in Worms. First was he student at the Scuola des Nudo in Rome and then he studied at the Kunstakademie at Munich (class of Professor Dörner). From 1939 to 1945 he was a soldier, and after his return from imprisonment in 1947, he was again employed in Rome, where he created his first stage designs for the opera in Rome, and he also worked in Venice and Milan. Since 1956 he has also worked in Germany (in Munich, Darmstadt and Berlin), and from 1960 to 1970 he was a designer for the china industry. He illustrated "Aschenbrödel" and "Triumphe" published by Heinz Moos Verlag. He now Iives as a freelance painter and cartoonist in Munich and Rome.

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• Hermann Haindl

Additional information: Born in 1927 in Berlin. During the war he worked as a set painter and stage designer in Katowice in Poland. After the war, in 1948, he studied painting and graphic art in Berlin and Frankfurt. Since 1950 he has been stage designer and head of the painting workshop at the Stadtische Bühnen in Frankfurt am Main. He is the author of a Statute of the German Federal Republic concerning the specialized craft of stage set painter; since 1971 he is a member of the OISTT Committee for Youth and Newcomers and a member and since 1967 chairman of the Kunstverein of Hofheim. One of his most important stage designs are the sets for The Wizard of Oz by Frank L. Baum. He has participated in exhibitions in the German Federal Republic, Belgium, Austria and Sweden. He participated in the Prague Quadrennial in 1971.

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Exhibiting works

• K. Penderecki: (Sonata per Violoncello), 0
  
  
  
• Michael Ende: (Jim Knopf), 0
  
  
  
• Kurt Halleger

Additional information: Born in 1901 in Mährisch-Schönberg. Painter and stage designer. Trained under Otto Mueller in Breslau, and then at the Kunstakademie in Vienna and Prague (under Professor Thiele). From 1926 to 1946 he worked as a freelance painter in Prague and at the same time he was cartoonist for SIMPLICISSIMUS. His carreer as a stage designer started when he was appointed chief designer of the Städtische Bühnen Nuremberg. In 1962 he received in Paris the "Prix des Nations" for the best stage design. For a long time he was employed by the Staatstheater Munich and also worked as guest designer with many notable theatres both within Germany and abroad. He contributed paintings, drawings and stage design sketches to exhibitions in Athens, Berlin, Brussels, Sao Paulo, Prague, Strassbourg, Zurich. He died on the lOth of October 1963 in Munich.

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Exhibiting works

• Williame Shakespeare: (The Taming of the Shrew), 0
  

  
  
  
• M. Lampell: Die Mauer (Die Mauer), 0
  
  
  
• Dominik Hartmann

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• Siegfried Heinzmann

Additional information: Born in 1939 in Stuttgart. Actor and costume designer. After spending four years as an apprentice tailor, he spent two years studying at a special school of cutting in Paris. From 1959 to 1962 he studied drama and then spent three years acting. Since 1966 he has been costume designer at the Württembergisches Staatstheater in Stuttgart and is also employed on television work.

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• Knut Joachim Hetzer

Additional information: Born in 1942 in Berlin. He graduated from secondary school in 1963, is a self-taught stage designer. During the 1965-66 season he was a stage and costume designer at the Theater am Turm in Frankfurt am Main. In 1969 he became the chief stage designer in the Municipal Theatre in Cuxhaven, in the 1969-70 season he was a guest designer at Gottingen and at the Westfalische Kammerspiele in Paderborn. In the 1970-71 season he was chief stage designer at the Wurttembergische Landesbühne in Esslingen and since 1974 he is the chief stage designer at the Landestheater in Salzburg.

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Exhibiting works

• Albert Camus: (Caligula), 0
  
  
  
• Christof Heyduck

Additional information: Born in 1927 in Wroclaw. After graduation from secondary school he studied painting under Arnold Bode and Hans Leistikow and stage design under Teo Otto at the Academy in Kassel.After his success with tne staging of Christofer Fry's The Dark is Light Enough at the Landesbiihne in Salzburg in 1955 he came to the German Theatre in Göttingen at the invitation of H.Hilpert. During 1963-1965 he was the chief stage designer in the Municipal Theatres in Bielefeld, during 1970-72 in the same capacity in the Municipal Theatre in Saarbrücken. In the period 1965 and 1970 he collaborated with theatres in Basil, Berlin, Bielefeld, Darmstadt, Gelsenkirchen, Hamburg, Hildesheim, Cologne, Koblenz, Salzburg, Stuttgart and Vienna. At present he is chief stage designer at the Municipal Theatre in Munster. He has been guest stage designer abroad, for instance for the production of Prince Igor atthe State Hungarian Opera in Cluj in Romania and the production of La Création du Monde at the Wiener Festwochen. He is also active as an independent painter. He has participated in exhibitions held in Baden-Baden, Bielefeld, Essen, Fulda, Münster and the Prague Quadrennial 1971.

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Exhibiting works

• Williame Shakespeare: (A Midsummer-night's Dream), 0
  
  
  
• Federico García Lorca: (Blood Wedding), 0
  
  
  
• Peter Heyduck

Additional information: Born in 1924 in Wroclaw. After an apprenticeship in set painting he studied painting under prof. H. Wildermann in Wroclaw. After the war he completed his studies at the Bavarian State Opera. He worked as an assistant to Helmut Jürgens, Wolfgang Znamenacek, Cassandre and Clavé in Paris. He made his debut in the Municipal Theatre in Munster. At present he is the chief stage designer at the Volkstheater in Nuremberg. He has participated in festivals in Berlin, West Berlin and Salzburg and collaborated with the Volsktheater and Volksoper in Vienna, with theatres in Bonn and Graz and with the Schauspielhaus in Frankfurt am Main. He has also collaborated with directors Büch, Doufexis, Fleckenstein, Heyse, Huber, Lehmann, Liebeneiner, Moskowitsch, Reible, Schwarz, Szinberger, Umgelter, F.P. Wirth and others. Among his most important designs are Isung Yun's Spirits' Love, Henze's The Raft of the Medusa and Nono's Intolleranza in Nuremberg. He has received prizes from the cities of Salzburg and Norimberg for his work. He participated in the Prague Quadrennial in 1971.

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• Hainer Hill

Additional information: Born 1913 in Darmstadt. He studied painting there from 1927 to 1929; then he qualified as a stage painter after studying at the Städtische Kuntsgewerbeschule. From 1931 to 1935 he studied at the Staatsschule fiür Kunst und Handwerk in Mainz, and from 1935 to 1936 at the Städel-Schule in Frankfurt, where he collaborated with Caspar Neher, for whom he carried out projection paintings for theatres in Frankfurt, Darmstadt, Glyndebourne, Hamburg, Berlin and Vienna until 1944, and again from 1949 to 1953. He followed Neher to Berlin in 1948, where he worked independently for film companies. After the war he worked in Gera and Leipzig; from 1950 to 1953 he was stage designer for the Berliner Ensemble, and then until 1961 chief designer of the Deutsche Staatsoper (DDR). After the Berlin Wall was built, he first went to Karlsruhe as stage designer, and since 1967 has been chief designer in Dortmund. For the opening of the Munich opera he designed for Strauss' "Daphne". He has also worked in close cooperation with Klemperer, Scherchen and Brecht.

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Exhibiting works

• Franz Kafka: (The Castle), 0
  
  
  
• R. Cluzel M. Ohana: (Komentar zu Phadra), 0
  
  
  
• Hanna Jordan

Additional information: Born in 1921 in Wuppertal. After she had obtained the Oxford School Certificate, she came in 1939 to Holland to attend a Quaker School. As she is Jewish she could not then continue her studies. After the war, she attended for a short time the seminar for dramatic art in Cologne under Professor Niessen. She was engaged as stage designer by the Städtische Bühnen Wuppertal in 1947. Since 1955 she has completed numerous designs for various theatres, such as Basel, Berlin, Dortmund, Düsseldorf, Frankfurt, Hamburg, Cologne, Munich, Stuttgart, Vienna and Tel Aviv. She is today working regularly for theatres in Wuppertal, Hannover, Munich, Stuttgart, Cologne and Bonn.

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Exhibiting works

• Igor Stravinsky: (The Rake's Progress ), 0
  

  

  

  
  
  
• Bert Kistner

Additional information: Born in 1929 in Berlin. After the Abitur, he studied from 1946 to 1952 at the Hochschule für Bildende und angewandte Künste in East Berlin. He was assistant to Professor Heinrich Kilger, to whom the German Cultural Centre of the DDR dedicated a memoriál exhibition in Prague. From 1952 to 1954 his first engagement was with the Staatstheater in Schwerin, and from 1954 to 1960 he worked for the Deutsches Theater and for the Kammerspiele in Berlin. In 1960 he moved to West Germany, where he worked for various theatres: Heidelberg, Freiburg, Cologne, Frankfurt, Munich, Hamburg and Berlin. His most important stage design has been for Brechťs adaption of Marlowe's "Eduard II" under Hans Hollmann at the Kammerspiele in Munich.

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• Karl Kneidl

* 1940, Nuremberg
Specialization: set designer
Additional information: In 1958 he qualified as a carpenter. As a pupil of and assistant to Ambrosius Humm, he designed stage sets for the Städtische Bühnen Nuremberg. From 1960 to 1961 he was assistant in Braunschweig; from 1962 to 1967 he was assistaant to Max Fritzsche in Bochum and also worked independently, and from 1967 to 1969 he had a permanent position. In 1970 he was stage designer at the Schauspielhaus Zürich and has been engaged by Peter Palitzsch to work at the Städtische Bühnen Frankfurt as from 1972. He has done freelance work in Munich, Stuttgart, Berlin and Hamburg. He is professor of set design at the Dussoldorf Arts Academy since 1974 and roceivod the Nuremberg municipal award for culture in 1986.

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• Helmut Koniarsky

Additional information: Born in 1913 in Berlin. He attended the School of Arts and Crafts in Berlin. He was an un-paid clerk at the Prussian State Theatre under Traugott Muller. In the years 1935-1940 he worked as a free lance stage designer in Essen, from 1940 to 1942 at the Hamburgische Staatsoper, in 1942-1945 in Oslo. After the war, until 1949 he was at the Kammerspiele Theater in Hamburg, between 1950 and 1955 at the Staatsoper in Stuttgart. Since 1955 he has been collaborating with the Schillertheater, Deutsche Oper and Schlosspark-Theater, all in West Berlin, with the Schauspielhaus and Staatsoper in Hamburg and with theatres in Hannover, Kassel and Munich. He is an associate professor at the School of Design for costume design and at the Academy of Fine and Creative Arts for stage design, both in Hamburg. In his opinion the significance of the theatre is in its capability of making people perceive the substance of a play, i.e. on a sensually tangible level, not just by copying external appearances. He participated in the Prague Quadrennial in 1971.

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Exhibiting works

• Eugene O'Neill: (The Great God Brown), 0
  
  
  
• Konrad Kulke

Additional information: Born in 1939 in Schöneiche near Berlin. After his Abitur, he studied architecture for two semesters at the Technische Hochschule Hannover, and then studied for six semesters under Caspar Neher at the Akademie der Bildenden Künste in Vienna, where his first position was as stage designer for the Ateliertheater and the Theater der Jugend. Fritz Kortner engaged him in 1964 for the premiere of his play "Zwiesprache" at the Münchener Kammerspiele. From 1964 to 1966 he worked at the Stadttheater Ingolstadt, and from 1966 to 1968 at the Städtische Bühnen in Münster. From 1969 to 1970 he was chief designer at the Stadttheater Saarbrücken, and is now occupying a similar position at Oberhausen.

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Exhibiting works

• Sean O´Casey: (The Silver Tassie ), 0
  

  

  

  

  

  

  
  
  
• Jeanne Lefort

Additional information: Born in 1940 in Luxembourg. After studying at the Brussels Academy of sculpture and fine arts, she worked as assistant to Jorg Zimmermann and Jürgen Rose at the Kammerspiele in Munich. For four years she was stage designer at the Städtischen Bühnen Bielefeld, and at the same time had commissions as guest designer. She considers her most important work to be designer for "divertissements" and experimental theatre, for ballet and operetta, for satirical plays and for the theatre of the absurd.

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Exhibiting works

• Jean Anouilh: (Leocadia), 0
  

  

  
  
  
• Hanswalter Lenneweit

Additional information: Born in 1925 in Elbing. He studied stage design at the Hochschule für Bildende Künste in Weimar, was assistant to Traugott Müller and later to Caspar Neher. From 1952 to 1969 he was the principal stage designer at the Renaissance- and at the Schiller-Theater. Since 1970 he has been chief designer at the Bayerisches Staatsschauspiel, Residenztheater. Lenneweit has worked with the directors Kortner, Piscator ("War and Peace"), Barlog, Lietzau, Henn (Becketťs "Happy Days" — Euopean first night), Schweikart, Bauer, Hollmann and others. He has worked as guest designer in Helsinki, Uppsala, Vienna, Amsterdam and Paris. Helmut Henrich´s production of "Nora" (Munich), for which he was designer, was presented in Moscow and Leningrad.

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Exhibiting works

• Williame Shakespeare: (Troilus and Cressida), 0
  

  
  
  
• Karin Liesegang

Additional information: Born in 1944 in Marburg. After having finished a tailoring course, she had one year's practical training at the opera in Essen. Then for seven semesters she studied costume design and goldsmithing at he Akademie der Bildenden Künste in Cologne. She was assistant to Teo Otto during the Salzburg Festival 1967, then she worked for three years at the Düsseldorfer Schauspielhaus. She is now working freelance, and living in Aachen.

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Exhibiting works

• Boris Vian: Les Bâtisseurs d'Empire (Die Reichsgrunder), 0
  

  

  
  
  
• Heinz Ludwig

Additional information: Born in 1910 in New York. After having passed the Abitur at the Humanistisches Gymnasium in Aachen, he went to the Theresianum in Vienna. He had further training at the Staatliche Kunstakademie Düsseldorf in Professor von Wecus' class for applied painting. For a further five semesters he was assistant to Professor von Wecus. His first engagement was in Aachen, (now Poland); in 1944 he was recruited for military service, and returned in 1946 to be stage designer in Linz and Salzburg. From the end of 1946 to 1956 he was head of both the decor and workshops of the Vereinigte Bühnen Graz. At present he is working freelance in Zürich, Vienna (for the Festwochen), Berlin, and for the Festspiele in Bad Hersfeld.

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• Hermann Markard

Additional information: Born in 1926 in Nierstein on the Rhine. Painter and stage designer. After studying painting in Karlsruhe and at the Werkkunstschule in Darmstadt (under Professor Paul Thesing), he went in 1960 to the USA. In New York he was employed by the experimental company of the Juilliard Opera where he was occupied, above all, with the lighting, or "light intersighting". His first major work was for Zoltan Kodaly's suite "Háry János". After his return from America he worked as a freelance painter. From 1965 to 1967 he was responsible for the lighting of "Het Nationale Ballet" in Amsterdam. He worked permanently as guest designer in Dortmund and Konstanz as well as in Krefeld and Wiesbaden, and he cooperated with Werner Saladin, Günther Büch ("Zigger Zagger"), Joachim Fontheim ("My Fair Lady"), Leopold Lindtberg and others. For the "Hungarian Week" in 1970 he designed for Rudolf Marosch's "Reflexionen" (premiere) in cooperation with Marosch's stage designers. He has had exhibitions in New York at the National Design City Centre; he is also a member of the German Artists Association in Bonn.

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• Eberhard Matthies

Additional information: Born in 1937 at Magdeburg. Having studied for three years as assistant stage designer at the Städtische Bühnen Greifswald (DDR) he went to Berlin in 1960 in order to complete his artistic education. In 1963 he had a scholarship for the Accademia di Belle Arti in Rome. In 1964 Erwin Piscator engaged him as his assistant at the Freie Volksbühne in Berlin. From 1966—70 he has been appointed as head of the scenery at the „Theater am Turm" in Frankfurt. Besides he worked for the Stadttheater, Heidelberg as well as for Television. Since 1970 he is at the Städtische Bühnen, Frankfurt a. M.

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• Ottowerner Meyer

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• Waldemar Meyer-Zick

Additional information: Born in 1915 in Darmstadt. From 1934 to 1937 he studied at the academy of arts in Frankfurt and in the paint workshop of the Städtische Bühnen Frankfurt. He was a soldier during the war, and the after returning from imprisonment, he was a pupil of and assistant to Professor Sievert and Helmut Jürgens in Frankfurt. He has worked as stage designer in Frankfurt, Munich, Bielefeld, Kassel, Kiel and Dortmund, and as guest designer in Antwerp and Johannesburg. For seven years he has been chief designer at the Badisches Staatstheater in Karlsruhe.

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• Ulrich E. Milatz

Additional information: Born in 1927 in Brandenburg. He studied painting and stage painting under Professor Willi Schmidt at the Hochschule ftir Bildende Künste in Berlin. In 1956 he was appointed personal assistant to Wieland Wagner; from 1957 to 1960 he was assistant to and stage designer under Karlheinz Stroux in Düsseldorf; from 1960 to 1962 he was head of the workshops in the Staatstheater Stuttgart, and from 1962 to 1964 he was stage director in Braunschweig. Since then he has worked freelance in Stuttgart, Cologne, Berlin, Wiesbaden, Basel, Berne, and at the Opera Forum, Holland.

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Exhibiting works

• : (The Madwoman of Chaillot ), 0
  
  
  
• Wilfried Minks

Additional information: Born in Binai (CSSR) in 1930. He was educated in Leipzig (Master school for applied art) and Berlin Academy for Fine Arts (Hochschule fur Bildende Künste), Class Professor Willy Schmidt. First engagement 1957/58 at the Württembergische Staatstheater Stuttgart as assistant of Gerd Richter. 1958/59 Hrst stage designer at the City Theatre (Stadttheater) Pforzheim; 1959—62 first stage designer and responsible for the scenery at the Städtische Biühnen Ulm. From 1968 on head of stage designing and responsible for the scenery at the theatre of the Free City of Bremen. As co-operator of Peter Zadek and Kurt Hübner W. Minks belongs to the most convincing stage designers of the actual modem trend. The well known critic Siegfried Melchinger wrote about his " . . . unmistakable signature . . . this man of 37 is bewildering, shocking, inspiring where ever he sets up his stage . . . If he carries on like this the era of Caspar Neher and Teo Otto will be replaced by the era which starts with Minks . . . he is radically unpedagic, the word "engagement" has been, as it were, translated into another language . . ." ("Siiddeutsche Zeitung"). His most important works have resulted from the collaboration with Kurt Hübner, Peter Palitzsch and Peter Stein. Scenic productions as "Die Rauber", "Don Carlos", "Puntila", a cycle of Shakespeare, "Platea" (by Rameau), "Der Spassvogel (the joker) (by Brendan) and particularly "Tasso" by Stein have become landmarks in modem theatre history. Minks said about his way of working: "I do not know any ethic morality, only an artistic one, which for me is at the samé time ethic, because it forces me to behave with absolute honesty."

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• Hans Heinrich Palitzsch

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Exhibiting works

• Federico García Lorca: (Blood Wedding), 0
  
  
  
• Williame Shakespeare: (Measure for Measure), 0
  
  
  
• Hannes Rader

Additional information: Bona in 1940 in Linz, where he graduated from the School of Applied Arts: later he studied under Caspar Neher at the Academy of Fine Arts in Vienna. He made his debut as a stage and costume designer at Salzburg, later he was at Hildesheim and in Linz. Between 1968 and 1972 he was the chief stage designer at Freiburg/Breisgau and since 1972 he is the chief stage designer at Klagenfurt. As guest designer he has collaborated with theatres in Cagliari /The designs for Siegfried/, at the Teatro San Carlo in Naples /the sets for Lohengrin/ and at the Theater an der Wien, where he designed the production of Ulysses for the Vienna Festival. In 1972 he participated in the exhibition Theatre Work 1962-1972 held in Freiburg/Breisgau.

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Exhibiting works

• Wolfgang Amadeus Mozart: (Don Giovanni), 0
  
  
  
• Giuseppe Verdi: (Falstaff), 0
  
  
  
• C. Zuckmayer: (Hejtman z Kopníku), 0
  
  
  
• Thomas Richter-Forgach

Additional information: Born in 1940 in Komárno (Czechoslovakia). He first trained in Düsseldorf under Teo Otto, for whom he worked as assistant from 1960 to 1962. From 1962 to 1963 he was chief designer for the Kammerspiele in Düsseldorf; from 1963 to 1966, chief designer to the theatre in Ulm, where he worked closely with Ulrich Brecht and Klaus Bremer, with whom he worked from 1966 to 1971 at the Staatstheater in Kassel. Then followed three years as Assistant Professor of Stage Design for Teo Otto's class. He attempted to apply the newest ideas on sculpture to his stage designs. In 1970 he considered his designs for Kai Braak's production of "Penthesilia" in Kassel as "soft art". He has worked as guest designer for various theatres.

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• Jürgen Rose

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Exhibiting works

• Sergei Prokofiev: (Cinderella), 0
  
  
  
• Willi Schmidt

Additional information: Born in 1910 in Dresden. From 1929 to 1932 he studied philosophy, fine arts, German literature and drama at the Friedrich-Wilhelm-University. At the same time, from 1930 to 1931, he was assistant to Rochus Gliese. He was engaged in 1933 for the Volksbühne by Heinz Hilpert, whom he later accompanied to the Deutsches Theater, where he stayed until 1940. Then Gustav Gründgens engaged him for the Prussian Staatstheater. There he had much fruitful collaboration with Jürgen Fehling. From 1945 he was director and stage designer for most well-known companies in Berlin, Düsseldorf, Hamburg, Munich, Vienna and Zürich, and for the Ruhrfestspiele in Recklinghausen. For the first and second television channels, he designed sets for Dostojevsky's "Die Sanfte", and G. Keller's "Romeo und Julia auf dem Dorf". From 1952 he was Professor of Stage and Costume Design at the Hochschule fiir Bildende Künste in Berlin, where he trained a whole generation of young talented designers. From 1958 he was a member of the Akademie. In 1952 he received, for his work, the prize of the German "Kritikerverband", and in 1961 the Berlin "Kunstpreis". As the author of several articles he has made a significant contribution to modern theories of stage design.

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Exhibiting works

• Georg Büchner: (Woyzeck, Leonce and Lena), 1969
  
  
  
• Hans-Ulrich Schmückle

Additional information: Born in 1916 in Ulm. While studying under Adolf Hölzel and Hans Hildebrandt in Stuttgart, he was greatly influenced by their work and also by that of Oskar Schlemmer. From 1935 to 1937 he studied at the Akademie ür Bildende Künste in Munich under Karl Caspar who was in 1937 forbidden by the Nazis to continue teaching at the time of the exhibition on "degenerate art". During the war he was an antifaschist. From 1945 to 1949 he worked at the Württembergisches Staatstheater in Stuttgart, and from 1950 to 1954 was a permanent guest designer for the Stadtische Bühnen in Dortmund, the Sädtische Oper in Berlin, the Württembergisches Staatstheater in Stuttgart and the Staatstheater in Kassel. From 1954 he was chief designer and stage designer at the Städtische Bühnen in Augsburg, and then from 1961 to 1967 chief designer for the Freie Volksbühne in Berlin. He has also worked as guest designer for various international companies such as Berlin (Deutsche Oper), Naples (San Carlo), Brussels (Theatre Royal), Florence (Maggio Musicale), Ost-Berlin (Staatsoper Unter den Linden), Glasgow (Scottish Opera), Edinburgh (Festival), Zürich (Schauspielhaus). He attracted worldwide attention by his designs for "The Marriage of Figaro" in Augsburg, when he used enlargements of details from erotic paintings of Francois Boucher (1703—1770). He has worked in close cooperation with F. E. Brückelmeyer, Carl and Peter Ebert, Erwin Piscator, Hermann Scherchen, Dr. Karl Bauer, Fritz Kortner, Walter Felsenstein, Harald Bensch and others.

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• Frank Schultes

Additional information: Born in 1905 in Plzeň, in Czechoslovakia. After graduation from secondary school he briefly studied painting and then graduated as an architect. He made his theatre debut by designing the stage sets for Shaw's Caesar and Cleopatra at the German Theatre in Prague, where he was a stage designer; at this theatre he also designed the stage sets for The Taming of the Shrew with Carola Neher. He collaborated with the Volskbühne in Berlin and between 1946 and 1953 with the Municipal Theatres of Frankfurt. Between I956 and 1963 he was in Nuremberg, while at the same time collaborating with a theatre in Heidelberg and the State Theatre in Weisbaden. Since 1969 he also regularly collaborates with the Municipal Theatre in Cologne. He designs for a number of theatres abroad. Among his most important scenic designs are the sets for Schiller's The Robbers for a theatre in Oslo; for Ibsen's Pillars of Society in Bern; for Smetana's The Bartered Bride in San Francisco and to Schiller's The Maid of Orleans in Bucharest. In recent years he has also been working for television. He participated in the Prague Quadrennial in 1971.

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• Rudolf Schulz

Additional information: Born in 1909 in Gniezno, in Poland. Between 1929 and 1931 he was an assistant stage designer for the Max Reinhardt Theatre in Berlin. Between 1931-39 he worked as a free lance painter, between 1938 and 1943 he was a stage designer under G.Gründgens in Berlin. Between 1945 and 1949 he was at the Kammerspiele in Bremen and since 1949 chief stage designer in Hannover. He has collaborated with theatres in West Berlin, Bremen, Frankfurt am Main, Cologne, Munich, Berlin and Sao Paulo. He has exhibited at the Prague Quadrennial in 1971 and in the USA. Since 1971 he is an associate professor at the School for Costume Design in Hannover.

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• Alfred  Siercke

Additional information: Born in 1910 in Hanover. He was a pupil of Hermann Gowa, and studied dramatic art, fine art, and history. His first engagement was with the theatre in Gera and later with the Staatstheater in Braunschweig. He was chief designer for the Staatsoper in Hamburg, and from then 'stage designer for the Schauspielhaus Bochum. He worked several times as guest designer for the Staatsoper in Munich and in Stuttgart. He has had commissions from the Metropolitan Opera in New York, the Teatro Colon in Buenos Aires, the Grosse Oper in Leipzig and the Opernhaus in Amsterdam.

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Exhibiting works

• Wolfgang Amadeus Mozart: (La Clemenza di Tito), 0
  
  
  
• Hermann Soherr

Additional information: Born in 1924 in Mannheim. After a short training at the Bavarian Kunstakademie (in the class of Emil Pretorius), he was in 1946 employed by the Städtische Bühnen in Frankfurt, where he, amongst others, designed under Erwin Piscator the now famous sets for the German premiere of Sartre's "Räderwerk". He worked in Frankfurt untii 1956; from 1957 to 1961 he was chief designer in Mainz, in 1963 in Wuppertal, in 1964 with the Deutsche Oper am Rhein in Düsseldorf. A guest designer, he has worked in Hamburg, Munich, Berlin, Vienna, Amsterdam, Buenos Aires ("Arabella"), and Schwetzingen ("Tasso" under Ludwig Berger). He considers the set for the premiere of "Roi Ubu" at the Düsseldorfer Schauspielhaus as one of his most important recent designs.

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• Elisabeth Urbancic

Additional information: Born in 1925 in Vienna. After graduation from secondary school she studied at the Academy of Fine Arts in Vienna, in the years 1944 to 1948, under prof. Emil Pirchan. Between 1948-1950 she worked in the studio of Ferdinand Léger in Paris and then worked for three years as an assistant to Wolfgang Znamenacek at the Kammerspiele Theatre in Munich, where she continued for another year as a stage and costume designer. Since 1954 she collaborated above all with theatres in Munich, as well as with theatres in Salzburg, Vienna, Frankfurt am Main, Hannover, Cologne and elsewhere. She has designed the costumes for such very successful films as Spessart Inn, We Miraculous Children, The House in Motenvideo and Felix Krull. She participated in the Prague Quadrennial in 1971.

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Exhibiting works

• Jean Genet: (The Balcony), 0
  
  
  
• Paul Walter

Additional information: Born in 1913 in Mönchen-Gladbach. After a threeyear apprenticeship in theatre painting, he was from 1930 to 1934 assistant stage designer in Düsseldorf, and then engaged there and in Frankfurt. From 1939 to 1949 he was a soldier and prisoner. After his return, he was chief designer in Lübeck, and since 1952 has been employed in a similar position with the National- theater Mannheim. At the same time, he has been guest designer to various international theatres including those in Ankara, Buenos Aires, Essen, Florence, Genoa, Cologne, London, Venice and Vienna.

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Exhibiting works

• A. Wesker: (Golden Cities), 0
  
  
  
• Karl-Ernst  Herrmann

Additional information: Born in 1936 in Neukirch/Lausitz. After studying for three years at the Meisterschule für Kunsthandwerk (in the weaving class) in he studied from 1955 to 1960 under Wolff Hoffmann and Willi Schmidt at the Hochschule für Bildende Kunste in Berlin. From 1960 to 1961 he had his first engagement in Ulm, and from 1961 to 1967 he was a member of the stage design team with Hübner/Zadek/Minks at the theatre in Bremen. From 1968 to 1970 he was at the Staatstheater Braunschweig, and since 1970 he has been a member of the cast of the Schaubühne am Halleschen Ufer in Berlin. He has recently become famous for his designs for Peter Stein's production of Ibsen's "Peer Gynt".

Exhibiting works

• Bertolt Brecht: (The Good Person of Szechwan ), 0
  
  
  
• Roman Weyl

Additional information: Born in 1921 in Mainz, and is the son of the stage designer Hans Weyl. He was a trainee theatre painter at the Staatstheater Kassel, and studied stage design under Professor Mahnke in Dresden. In 1943 his first engagement was with the Theater am Schiffbauerdamm in Berlin, where he has been chief designer since 1950. In 1953 he did his first work for television, and in 1954 was chief designer of the Volksbühne in Berlin. From 1951 to 1958 he gave a series of lectures at the Humboldt University Berlin (DDR). Since 1961 he has worked freelance for various theatres. In 1959 he won the State Prize for Artists of the DDR.

Exhibiting works

• : (The Increased Difficulty of Concentration), 0
  
  
  
• Hermann - Steward: (Hallo Dolly), 0
  

  
  
  
• Albert Camus: (Caligula), 0
  
  
  
• Franz Mertz (Franz  Mertz)

Exhibiting works

• : (The Tempest), 0
  

  
  
  
• Heinrich von Kleist: (Amphitrion), 0