1975 » Federal Republic of Germany » Stage and costume design

SPOLKOVÁ REPUBLIKA NĚMECKO

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.
• 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

• : (Death in Venice), Bayerische Staatsoper 1975
• Hans Aeberli

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• Max Fritzsche

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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.
• 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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• 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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• 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.
• Hans Heinrich Palitzsch

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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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• 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

• : (The Merchant of Venice), Staatsthetare 1973
• Haitger  Max Böken

Additional information: Born in 1945 in Wittenberg (GDR); hs has been living now for five years In Austria. Stage designer and stage director. For a period of two years he studied composing under H. G. Weber in Coblenz. After having passed a carpenter's examination he volonteered for one year at the German Opera on the Rhine in Cologne. He has designed stage sets for the Andermacher Burgspiele (FRG), the Ateliertheater, the Youth Theatre and the Aréna 70/1 and 2 in Vienna as well as for numerous touring companies and experimental stages in Austria and the F. R. G. In his décors he accentuates functionalism and adequacy of stage material.
• Heinz BALTHES

Additional information: Born in 1937 in Ediger am Mosel. He studied under Teo Otto at the Academy of Arts in Düsseldorf. He began his career in the Kammerspiele Theater in Düsseldorf. Later he was in Heidelberg and after 1967 he was the stage designer in the Freie Volksbühne in Berlin. Together with Ita Maximovna he was a member of the artistic managing committee at the Hebbeltheater and the Berliner Theater. At present he is the artistic manager and stage designer of the Musical Theatre in Gelsenkirchen. He has also collaborated as a stage designer with the Volksbühne and Deutsche Oper in West Berlin, with the Braunschweig Theater, the Theater am Gartnerplatz in Munich, the Theater in der Josefstadt in Vienna and the Theater an der Wein. In 1964 he was guest stage designer in Florence for a production of Sternheim's Citizen Schippel. He has also been active in Bremen television. He participated in the Prague Quadrennial in 1971.

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• Ilse BARLAG

Additional information: Born in 1929 in Bielefeld. She was apprenticed as a ladies' taylor and later graduated from the Master School of Artistic Crafts. She began her work as a costume designer at the Municipal Theatres in Bielefeld. Between 1952 and 1959 she was at the Landestheater in Detmold, in 1956 and 1957 also at the open air theatre in Birten near Xanten. Since 1959 she is the costume designer and later head of the costume department at the Landesbühne in Wilhelmahaven. At the Korth German Festival of Theatres she won prizes in 1972 and 1975 and was awarded the 2nd prize for her costume designs for the play Victor, or the Children Take Over. Instead of sketches, she prepared carefully made figurines.

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• Heinz DAHM

Additional information: Born in 1904 in Berlin. He was an assistant to Emil Pirchan from 1921 to 1923 in Berlin.In 1924-25 he was at the Komische Oper, from 1930-33 he made his debut as a stage designer in Osnabrück, from 1933 to 1936 he was at Plauen. Since 1936 until the present he is at Saarbrücken. He has acted as guest stage designer in the Netherlands and the USA. In his stage designs, which are mostly in the form of models, he stresses the direct impression of the material and optical methods /projections/.

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Exhibiting works

• : (The Caucasian Chalk Circle), Saarbrückener Staatstheater 1972
• Barbara HOFFMANN

Additional information: Born in 1938 in Berlin. After graduation from secondary school she underwent an apprenticeship as a dressmaker and later studied at the Academy of Graphic Arts in Berlin. During 1962-1963 she was a costume designer in Bielefeld and later in Karlsruhe. She has been a guest designer in Augsburg, Braunschweig and Saarbrücken.

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Exhibiting works

• : (Fedelta premiata), Stadttheater 1972
• : (The Beautiful Helen), Badisches Staatstheater 1973
• Werner JUHRKE

Additional information: Born in 1932 in Berlin. He first studied costume design and later stage design under prof. Willi Schmidt at the Academy of Graphic Arts in Berlin. He was an assistant to Jean-Pierre Ponell. He has been collaborating with the Deutsche Oper, the Volksbühne, the Renaissancetheater and the Schillertheater all in West Berlin, with the Theater am Gartnerplatz in Munich, with the Royal Opera in Stockholm, the Theater an der Wien in Vienna. Among his most important stage designs are those for productions of Turandot and H. Pinter's The Caretaker, at the Oper am Rhein and the Schauspielhaus, both in Düsseldorf.

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• Dietlind KONOLD

Additional information: Born in 1949 in Hamm, Westfalen. After graduation from secondary school she spent one year at the School of Arts and Crafts in Kiel. From 1969 she studied at the Academy of Fine Arts in Hamburg, under prof. W. Minks. In 1974 she received a special scholarship. In 1972 she became an assistant to Gelhaar in Stuttgart. During 1971-72 she made her debut with her first independent stage design for Miss Julia in Oberhausen, in 1974 she designed the sets for Ubu Roi, produced at the Thalia-Theater in Hamburg. For the 1974-75 season she designed the costumes for The Soldiers by Lenz and Kipphardt and for Cock-a-Doodle Landy by O'Casey, both directed and designed by W. Minks.

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• Waltraut MAU

Additional information: Born in 1939. In 1960 she graduated from a Master Class in Artistic Crafts in West Berlin, as a stage and costume designer. In 1962 she was one of the co-founders of the Schaubühne am Halleschen Ufer, where she worked until 1970. Between 1971 and 1974 she was at the Tribune Theatre in Berlin and later at the Grips Theatre for children.

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• Margareta RUIGROK

Additional information: Born in 1939 in Rotterdam, in the Netherlands. She studied four years at the Academy of Fine Arts in Rotterdam. During 1964-65 she worked as a free lance stage designer in Canada. Since 1966 she works on a free lance basis in the German Federal Republic, above all in Cologne and Düsseldorf, where she was very successful with her designs for Kiss Me, Kate. in 1974 she began to study architecture. She works predominantly with models made of metal and plastics. She is also active as a painter and graphic artist. She has exhibited her work in Cologne and in Düsseldorf.

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• Hans SCHAVERNOCH

Additional information: Born in 1945 in Gmunden. After graduation from secondary school he studied at the Academy of Applied Arts in Dortmund. He made his debut in Bregenz and at present he is a stage designer at the Municipal Theatres of Dortmund.

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• Frank Ulrich SCHMIDT

Additional information: Born in 1927 in Rastenburg. Between 1947 and 1954 he was at the Academy of Arts in Düsseldorf, where he studied painting under prof. Heuser and stage design under prof. Wecus. Since 1953 he has been working as a stage and costume designer. Between 1953 and 1962 he was at the Kammerspiele in Düsseldorf, between 1963 and 1969 he was a free lance artist and since 1969 he is the chief stage designer of the Rheinisches Landestheater in Neuss. Among his most important designs are the stage sets for Camus' State of Siege in the theatre in Aachen and Brecht's The Good Woman of Setzuan in the theatre in Neuss. In 1958 he received the Sponsored Prize of the Land Nordrhein-Westfalen.

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• Dietrich SCHORAS

Additional information: Born in 1939 in Essen. After studying architecture and painting in Düsseldorf, he attended a class for stage design, under prof. Willi Schmidt at the Academy of Fine Arts in Berlin, while also participating in an acting class. He made his debut at the National Theatre in Mannheim and later was at the Municipal Theatres in Heidelberg. At present he is a stage and costume designer in Karlsruhe and often collaborates with the theatre in Braunschweign. Among his most important designs are the stage sets for Ibsen's A Doll's House, Chekhov's The Cherry Orchard and Turgenev's The Family Charge.

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• Marga SOMMERKAMP

Additional information: A costume designer at the Municipal Theatres in Osnabrück. She specializes in the design of costumes for opera.

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Exhibiting works

• : (Chess Ballet), 0
• Paul STRUCK

Additional information: Born in 1928 in Kassel. After graduation from secondary school he studied at the State Academy of Fine Arts in Kassel, while receiving practical training at the State Theatre in Wiesbaden. In the years 1952-54 he worked as a film architect, between 1954 and 1956 as a stage designer for the télévision department of Hessischer Rundfunk. He has collaborated with various theatres both in the German Federal Republic and abroad, such as the Hersfeld Festivals, the Deutsches Theater in Göttingen, where he designed the stage sets for Camino Real, directed by Fleckenstein, which was conceived as a surrealist and phantastic apocalyptic vision of the present, for theatres in Salzburg and for the Ballet de France in Paris. For the State Opera in Zagreb, Yugoslavia, he wrote the libretto and designed the stage sets for a ballet adaptation of Vicki Baum's novel People in a Hotel, which was done by Boris Papandopulos and had its premiere in 1967 at the occasion of the Vienna Festwochen. The stress in his work is on lighting and projection. He uses traditional materials, as well as synthetics.

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• Rüdiger TAMSCHICK

Additional information: Born in 1942 in Leipzig. After graduation from secondary school he studied painting and stage design. Since 1968 he has collsborated with, and later became chief stage designer of the Bayreuth Festivals, where he designed the stage sets for Wagner's operas The Mastersingers in 1968, The Ring of the Nibelung in 1970 and Parsifal in 1975. Since 1973 he teaches at the Academy of Arts in Stuttgart and otherwise works as a free lance artist. His stage designs are based above all on models, accompanied by technical documentation, but he develops new ideas during rehearsals, when his sets receive their definite shape. In 1974 he received the second prize at an exhibition of stage designing in Darmstadt.

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• Annette Maria TÖFFLING

Additional information: Born in 1948 in West Berlin. She was trained as a construction engineer. Her theatre debut were the sets she designed for Anouilh's Thieves' Carnival. She often makes use of collages.

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• Werner Victor TÖFFLING

Additional information: Born in 1912 in Berlin. He studied in Berlin at the School of Arts and Crafts and at a school for costume design. He was first assistant to Götz Röthe at the Volksbühne in Berlin and to Louis Egg at the Municipal Theatre in Liberec, in Czechoslovakia, where he also made his debut in 1940. Between 1952 and 1963 he worked at the Hebbeltheater in West Berlin, between 1959 and 1968 also at the Berliner Theater and from 1961 to 1963 at the Tribune Theatre. Between 1954 and 1959 he also designed sets for the cabaret Stachelschweine. He has collaborated with the Municipal Theatre in Baden-Baden and during 1968-1975 with the theatre in Hildesheim. Among his most important designs are the stage sets for The New Sorrows of Young W. by Plenzdorf. He is also successful as a free lance painter.

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• Herbert WERNICKE

Additional information: Bern in 1946. He first studied music in Braunschweig and in the period 1966 - 1970 he studied stage design with R. Heinrich. During the 1970 - 1971 season he was a stage designer at the Boston Opera Company in the USA, in 1971 he became the stage designer of the theatre in Landshut and in 1973 he worked at the theatre in Wüppertal. Since 1974 he is a free lance stage designer. Among his most intersting stage designs are those for productions of Brechť s Drums in the Night and The Excess of A. Bronnen, Mozarť s The Magic Flute, L. Tieck' s and F. Schiller' s Upside Down World and The Marriage by V. D. Kirchner. In 1978 ha directed and designed a production of Händel´s Belsazar for the state Theatre in Darmstadt.

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Exhibiting works

• : (Drums in the Night), Wuppertaler Bühnen 1974
• : (Excesses), Wuppertal Schauspielhaus 1973
• Gernort Dieter ZAHEL

Additional information: Born in 1941 in Niklasdorf. He was trained as a decorator at an apprentice school in Nuremberg, where he also worked as a un-paid assistant to Otto Stich and Peter Heyduck. Since 1962 he is the stage designer a of the Städtbund-Theater at Hof-Nuremberg. He has also designed stage sets for the student theatre at the University at Erlangen-Nuremberg and for the open air performances in Feuchtwangen.

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