1971 » Switzerland » Stage design and costumes

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Exhibiting artists / ateliers

• Jörg Zimmermann

Additional information: Born 1933, of Swiss-German origin, stage designer. Pupil of Teo Otto at the Zurich Schauspielhaus. He began his carcer at the Deutsches Schauspielhaus in Hamburg in 1953. Later he worked for the Schlossparktheater and the Schillertheater in Berlin, the Schauspielhaus in Zurich, the Landestheater in Darmstadt, the Schauspielhaus in Bochum, the Municipal Theatres in Franfurt, the Residenztheater and the Schauspielhaus in Munich, and for the Burgtheater and the Akademietheater in Vienna. He participated in the Salzburger Festspiele and worked as guest designer for the Städtische Oper in Berlin and the Zurich Opera. From 1961 he has been head of satge design at the Kammerspiele in Munich, and he collaborates with a number of German, Austrian and Swiss theatres. From 1968 he also designs sets for the Basler Theater, for the Nürnberg Opera and the Staatsoper in Munich. He participated in the exhibition of Swiss stage design: From Appia until Today and the Prague Quadriennial 1967.


• Emilio Mario Beretta

Additional information: Born 1907, of Swiss-Italian origin, painter. From the age of thirty he has from to time been working for the theatre, mainly for the Compagnons de Romandie in Geneva, for which he designed the sets for the play St. Francis of Assissi by Henri Ghéona (1937), and for the Grand Théâtre in Geneva (Dido and Aeneas by Henry Purcell, 1948, La Bohéme by G. Puccini, 1965, Carmen by G. Bizet in 1966 and 1970). He participated in the exhibition of Swiss stage design: From Appia Untii Today (1949—1951).

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Exhibiting works

• : (Carmen), Grand Theatre 1970
  
  
  
• Jean Bosserdet

Additional information: Born 1925, of Swiss-French origin, graphic artist. He has been working for the theatre since 1966, especially for the Centre Dramatique in Lausanne, for which he designed the sets for B. Brechťs Galilei (1967) and A. R. Lesage's Turcaret (1968). He also works for the Création Theatre in Lausanne. He participated in the exhibition at the Bibliothēque Nationale in Berne in 1967.

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• Toni Businger

Additional information: Born 1934, of Swiss- German origin, stage designer, pupil of Teo Otto, chief stage designer at the Schauspielhaus in Zurich. li was here that Businger designed his first sets for Hauptmann´s drama And Pippa Dances (1958). He was head of design of the Municipal Theatres in Fribourg-en-Brisgau from 1960—1962 and collaborated with a number of Swiss theatres, among others with the Schauspielhaus and the Opera in Zurich, with the Municipal Theatre in Berne, with the Grand Théâtre in Geneva, and with a number of foreign companies: the Thaliatheater and the Staatsoper in Hamburg the Municipal Theatres in Frankfurt, nad with theatres in Cologne, Essen, Heidelberg, Düsseldorf, Vienna, Johannesburg and San Francisco. He exhibited at the VlIIth Biennial in Sao Paolo in 1965.

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• Marietta Eggmann

Additional information: Born 1941, of Swlss-German origin, stage designr. She served her apprenticeship at the Städtebundtheater in Biel-Solothurn where she worked from 1966—1971. She collaborated with the Municipal Theatre, the Ateliertheater and with Die Rampe in Berne. After exhíbiting at the exhibition in Berne in 1971 she was granted the Federal scholarship of applied arts for her design for the play Viét-nam by Armand Gatti.

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• Ambrosius Humm

Additional information: Born 1924, of Swiss-Grman origin, stage designer. He first presented himself to the public in Zurich in 1944 with his theatre Humms Marionetten. He served his apprenticeship from 1944—1948 with Teo Otto, chief stage designer at the Zurich Schauspielhaus. It was here he designed his first sets for Garcia Lorca's The House of Bernarda Alba. From 1948—1953 he was head of stage design at the Municipal Theatre in St. Gallen. From 1953 he has been with the Municipal Theatres in Nürnberg. From time to time he designs sets for the Zurich Schauspielhaus, for the Vienna Burgtheater, the Berlin Schlossparktheater and from 1966 also for the Theater am Neumarkt in Zurich. He participated in the exhibition of Swiss stage design: From Appia until Today, and exhibited at the International exhibition of stage design in Oslo (1951) and at the IVth Biennial in Sao Paolo in 1957.

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Exhibiting works

• Ladislav Smoček: (The Strange Afternoon of Dr. Zvonek Burke), Theater am Neumarkt 1967
  
  
  
• Hannes Meyer

Additional information: Born 1923, of Swiss-German origin, stage designer. He served his apprenticeship with Teo Otto at the Zurich Schauspielhaus. From 1950—1957 he held the post of deputy chief stage designer in this theatre. Later he worked for the Schauspielhaus and the Werkraumtheater in Munich, for the Staatsschauspiel in Stuttgart and the Municipal Theatre in Luzern. In 1958 he was engaged by Rodolf Sellner as head of stage design at the Landestheater in Darmstadt, and in 1960 by Walter Oberer for the same post at the Municipal Theatre in Berne, and in 1969 by Werner Düggelin for the Basler Theater. He participated in the exhibition of Swiss stage design: From Appia Until Today (1949—1957), and in the IVth Biennial in Sao Paolo in 1957.

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• Ary Oechslin

Additional information: Born 1914, of Swiss-German origin. From 1934—1939 he studied at the Reimann School of Art, at the State School of Fine Arts and the Master School of the City of Berlin. From 1940—1944 he studied stage design at the Deutsches Opernhaus in Berlin and at the Municipal Theatre in Strassbourg. He returned home in 1944 and from 1952 worked as stage designer the Municipal Theatre in Coire, with the Städtebunttheater in Biel Solothurn and the Ateliertheater in Berne. From 1965 he has been with the Municipal Theatre in Berne as head of stage design. He collaborates with the Schauspieltruppe in Zurich, with the Comedy Theatre in Basle and the Koninklijke Schowburg in Brussels. He participated in the exhibition of Swiss stage design: From Appia untii Today (1954—1957) and exhibited at the Vth Biennial in Sao Paolo. .

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• Max Röthlisberger

Additional information: Born 1914, of Swiss-German origin, stage designer, founder of the Junge Bühne in Berne in 1932 where he started his career as actor and stage designer. After completing his studies in Vienna and Berlin in 1936 he was engaged as actor and designer by the Stadttheater in Coire, and from 1939 by the Stadttheater at St. Gallen where he worked in the same capacity. From 1944 he worked as art director for the Stadt- heater in Zurich and in 1964 he was angaged by the Opera, where he created numerous scenic and costume designs. He worked as guest designer for the Zurich Schauspielhaus, for the Comedy Theatre in Basle, the Grand Théâtre in Geneva, La Scala in Milano, for the Festival in Bregenz, the Nürnberg Opera, the State Opera and the Thaliatheater in Hamburg, for the Théâtre des Champs-Elysées in Paris, for the Burgtheater, the Staatsoper and the Volksoper in Vienna, the Théâtre de la Monnaie in Oslo in 1951 and also exhibited at the IVth and Vth Biennial in Sao Paolo. From Appia untii Today (1949—1957), to the International exhibition of stage design in Oslo in 1951 and also exhibited at the IVth and Vth Biennial in Sao Paolo.

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• Pierre
  Anne-Marie  Simond
  Simond

Additional information: Mobile scenic structure for Richard Wagner´s tetralogy The Ring of the Niebelungen. Tihis project was initiated in August 1969 by architect and stage designer Pierre Simond, born in 1937, and by Anne-Marie Simond, stage designer and graphic artist, born in 1941. Technical advisers: psychiatrist Lina-Maria Birchen-Deck and composer Constantin Regamey. This mobile structure constitutes the scenic base for musical dramas of Wagner´s tetralogy. The scenic space turned mobile, divisible and capable of transformation, becomes an element of expression. It translates the internal dynamic of the drama, to which both actor and spectator feel to be bound, with the help of the place, proportion of materials, lights and colours. The character of these relations changes in accordance with the peripetia of the work. The density and fluency of actions as well as the change of emotions correspond with the play of volumes.

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• Thierry Vernet

Additional information: Born in 1927 in Geneva; a painter and stage designer. He has, among others, designed the stage sets and costumes for Regnard, Becque and Marivaux at the Comédie Francaise. Among his most important stage designs are the sets for productions of Lulu by Alban Berg, for the Alfonso Cata ballet Verklärte Nacht by Schönberg and for productions of chamber operas by Rossini, Cimarosa, Paisiello, Donizetti and Mozart at the Geneva Opera. For the Compagnie des Marionnettes Alain Recoing in Paris he designed the stage sets for Marlowe's The Tragicall History of Dr Faustus and H.C. Andersen's The Snow Queen.

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