1.Act: A forest near Athens; A gathering of fairies, attendants of Tytania, Queen of the Fairies, is interrupted by Puck, the servant of Oberon, King of the Fairies. Tytania and Oberon have quarrelled because she refuses to give him one of her attendants, an Indian boy, to be his page. Because of the quarrel, they have neglected their duties, and nature is in disarray. Set on revenge, Oberon orders Puck to fetch him a magical herb, whose juice, dropped on a sleeper's eyelids, causes him to fall madly in love with the first creature he sees upon waking. Oberon intends to use this on Tytania. Lysander and Hermia are fleeing from the Athenian law which insists that Hermia obey her father and marry Demetrius, but they have been followed by Demetrius, who is in love with Hermia. He in turn is followed by Helena, who loves him so much that she has given away her friend Hermia's plans with Lysander. Observed by Oberon, Demetrius rejects Helena and runs off. When Puck brings back the magic herb, Oberon tells him to rub it onto the eyes of an Athenian youth - Demetrius - to make him return Helena's love. A group of Athenian tradesmen comes to the forest to rehearse a play about Pyramus and Thisbe, which they hope to perform during the wedding festivities of Theseus, the Duke of Athens, and Hippolyta, the Amazon Queen. The parts are assigned by Peter Quince, though not without some difficulty, as Nick Bottom wants to play every part, in addition to his designated role of Pyramus. They separate to learn their lines, agreeing to return to the spot for a rehearsal. Lysander and Hermia reappear, exhausted from their wanderings, and lie down to sleep. Puck, mistaking Lysander for the Athenian youth mentioned by Oberon, drips the juice of the flower into his eyes. Demetrius runs through the scene, pursued by Helena, who is too exhausted to follow him any further. Seeing Lysander, she fears he may be dead, and wakes him up. Under the influence of the magic flower he falls madly in love with her, but she thinks he is mocking her and runs away. He follows her, abandoning Hermia, who wakes up to find herself alone. She sets off in search of Lysander. Surrounded by her attendants, Tytania falls asleep, but Oberon sneaks up on her and sprinkles her eyes with the magic juice, bidding her to 'wake when some vile thing is near.'2.Act: The tradesmen start their rehearsal. Puck sneaks up behind Bottom and puts an ass' head on him. This frightens the others, who run away. Bottom is singing to himself to keep up his spirits, when Tytania wakes up and falls in love with him. She orders fairies to attend to his every wish. He is tired and goes to sleep. Hermia meets Demetrius and accuses him of having killed Lysander. She continues her search and Demetrius lies down to sleep. Oberon, who has been watching and has realised Puck's error, sends him to bring Helena to the spot where Demetrius has fallen asleep so that she is present when he awakes, and puts the juice in Demetrius' eyes. But when Helena appears, she is accompanied by Lysander,who is still proclaiming his devotion to her. When Demetrius wakes up and also expresses his sudden love, she is unable to believe that he is sincere. Hermia enters the scene and finds both men now in love with Helena, who accuses Hermia of having conspired with them to ridicule her. The two girls quarrel and Lysander and Demetrius prepare to fight over Helena. Angry at Puck's mistake, Oberon orders him to create a mist and lead the men astray so they cannot harm one another and then put them to sleep and anoint Lysander's eyes with an antidote. After this has been accomplished, Puck brings the girls and puts them to sleep too.3.Act: Tytania has given the Indian boy to Oberon, who takes pity on her and undoes the spell. She is horrified to see the creature she has been in love with. Oberon orders Puck to remove the ass' head and Oberon and Tytania are reconciled. The four youths wake up, paired off properly, wondering about what they have experienced. Bottom wakes up to find himself again, but he has a strange feeling that something wonderful has happened to him. He is reunited with his friends and they learn that their play has been chosen. Theseus and Hippolyta are preparing for their marriage. The two pairs of lovers explain that their differences have been resolved and Theseus agrees that Hermia can marry the man of her choice. The 'tedious brief scene' of Pyramus and Thisbe is performed and the three couples retire to bed. The fairies invoke a blessing on the palace and its occupants. first act: Cyprus is under Venetian control. It is night; a violent storm is raging at sea. On the quay, a group of Venetian citizens and soldiers, awaiting the arrival of Othello, anxiously watch as his ship struggles against the storm. The vessel finally comes into port, and the Moor appears briefly to announce that the enemy, the Turkish fleet, has been destroyed. He then goes into his castle as the crowd cheers. Only Jago does not rejoice. Angered because Othello has promoted Cassio over himself as captain, Jago plots revenge. He finds a willing ally in Roderigo, who is in love with Desdemona and still desires her, and induces him to help in getting Cassio drunk. Jago plies the reluctant young officer with wine and succeeds in provoking a quarrel between him and Roderigo. Montano arrives and informs Cassio that he must keep watch on the castle bastion. Now Jago manages to have Cassio pick a quarrel with Montano; swords are drawn, and Montano is wounded. Using the situation for his o wn ends, Jago sends Roderigo off to sound the alarm and arouse the town by spreading rumours of mutiny. The uproar brings Othello to the scene, furious at the brawl and disturbance of which Jago hypocritically disclaims all understanding. Othello is further enraged when Desdemona appears, awakened from her sleep by the tumult. Jago is ordered to restore peace, and Cassio is deprived of his rank. After dismissing everyone, Othello is alone with Desdemona. A soaring love duet ensues, and then, with a last look at the Pleiades and Venus resplendent in the nowclear sky, they go into the castle, clasped in each other's arms.second act: The second act is set in a hall on the ground floor of the castle, with a view of the garden. Jago counsels Cassio, despondent over his loss of rank, to beg Desdemona to intercede for him with her husband. Cassio decides to take the advice and goes into the garden to await her. Jago, his plot well on its way, proclaims his satanic Credo. Desdemona and Emilia come into the garden and talk with Cassio. Othello, entering the hall, is witness to the scene. Subtly, Jago begins to poison Othello's mind; he warns him against jealousy and advises him to await proof before taking action. Shortly Desdemona enters the room and pleads with Othello to pardon Cassio. Othello refuses so violently that his wife asks him if he is ill. He complains of pain in his head, but when she starts to bind his brow with a handkerchief that was his first gift to her, he grabs it and throws it to the ground. Emilia picks it up, but before Desdemona and her lady-in-waiting leave the room Jago succeeds in getting it from his unwilling, suspicious wife. Then he sets about inflaming Othello to a frenzy of jealousy. He tells him that he has heard Cassio talking in his sleep of his love for Desdemona, bemoaning the fate that had given her to the Moor; he also claims to have seen Desdemona's handkerchief in Cassio's hand. Othello becomes frantic with rage and swears 'by the marble heaven' implacable revenge. The acts ends with Jago joining him in his oath.third act: The act takes place in the great hall of the castle. Othello and Jago are plotting when a herald enters and announces that the Venetian ambassador is about to arrive. When he leaves Jago promises Othello the chance to observe Cassio's behaviour. As he goes out, he reminds Othello not to forget the handkerchief. Desdemona enters and greets her husband affectionately. When she again broaches the cause of Cassio, Othello complains of a headache and asks her to bind his brow with the handkerchief he had given her. Desdemona says she does not have it; he asks if she has lost it, and she assures him she has not. But Othello pursues the matter and insists that she get it at once. Desdemona intimates that he is trying to distract her from the matter of Cassio. His suspicions confirmed, Othello seizes her roughly and asks her to swear that she has been a faithful wife. Desdemona protests her innocence, but he will not believe her and damns her as a strum pet. When she cries out against the accusation, Othello, with calm irony, escorts her to the door, then, suddenly, forces her out. The Moor is alone for a few moments; he broods despairingly over the loss of Desdemona; then fury overcomes him, and he decides that she must confess her sin and then die. Jago returns with the news that Cassio is on his way and hides Othello behind a pillar. When Cassio enters, Jago inveigles him into talking about his mistress. The frenzied Othello can hear laughter but only half-hear the words and assumes they are talking about Desdemona. Cassio mentions having found a lady's handkerchief in his room. Immediately Jago -who has put it there asks to see it, and when he gets it he waves it so that Othello can recognize it as Desdemona's. Trumpets sound the arrival of the Venetian ambassador. Cassio goes out quickly. Othello and lago decide that the Moor will strangle Desdemona in her 'bed of sin' while Jago takes care of Cassio. And Othello now promotes his ensign to the rank of captain. Lodovico, the ambassador, enters with his entourage, followed by Desdemona, lago and Emilia. He brings a dispatch from the Doge recalling Othello to Venice and appointing Cassio Governor of Cyprus. As Othello reads the document he watches Desdemona and is enraged when he hears her talking to Jago of Cassio Suddenly, to the horror of the gathering, the Moor throws his wife to the ground. During the ensuing commotion lago, furious over Cassio's appointment, seeks out Roderigo and slyly reminds him that soon Othello and Desdemona will be on the high seas while he, Roderigo, is left behind; however, comments Jago, if something should happen to Cassio, Othello would stay on Cyprus. The young Venetian plays right into lago's hands and readily accepts his offer of help. Othello bids all leave, then, half crazed, he faints. Jago, who has been watching him with satisfaction from a distance, comes forward. As the crowd hails 'The Lion of Venice', he triumphantly plants his foot on the inert body: 'Behold the Lion!'fourth act: It is night. The scene is Desdemona's candlelit bedroom. Filled with somber thoughts Desdemona tells Emilia that Othello has bade her go to bed and await him. Her thoughts revolve about death, and a song she used to hear in her childhood, a song about a girl who, like herself, loved too well, keeps coming to her mind. As Emilia combs her hair Desdemona sings the pathetic little song. Then she bids her lady-in-waiting goodnight, kneels before the image of the Madonna and begins her Ave Maria. When she finishes she goes to bed and falls asleep. Othello enters through a secret door, his sorrow over the loss of Desdemona over come by his determination to murder her. But, after puffing his scimitar on the table, he pulls back the curtain and sadly gazes on his beloved, then puts out the light. He bends down and kisses Desdemona. She awakes. Sternly he asks if she has said her prayers, for she must die. There will be no mercy, for Cassio has been her lover. He has been found with her handkerchief, and for that he has already died. All Desdemona's protestations of innocence are of no avail. Othello, now beside himself with fury, strangles her until her screams ends in silence. Emilia knocks on the door. Admitted by Othello she cries out that Cassio has killed Roderigo. Desdemona's faint voice is heard '... I die innocent'. Emilia runs to the bed, horror stricken. 'Who did this?' she demands. Protecting Othello with her last breath, Desdemona murmurs, 'I myself'. But Othello shouts that it was he who killed her for she has been - Jago knows it, too Cassio's mistress. Lodovico, Cassio and lago enter. Emilia asks her husband for the truth: 'Did you believe Desdemona unfaithful?' lago answers yes. Defying him, Emilia reveals how he had seized Desdemona's handkerchief from her by force, and then Cassio adds that he had found it mysteriously in his room. Montano enters and reports that the dying Roderigo had confirmed lago's villainy. lago flees with the guards in pursuit. Othello reaches for his weapon, but Lodovico bids him yield it. Stunned and broken, the onetime Lion of Venice says no one need fear him. 'This is my journey's end.' In moving words he tenderly addresses himself to the dead, chaste Desdemona. Then, drawing a concealed dagger, he stabs himself. With a final effort he moves to Desdemona's bed and, dying, kisses her for the last time.
'um die wurst' - a grotesque by Jean-Marie Piemme - stage design for the theater 'halle7' in munich - cheribibi: alexander neuhaus, paper bag woman: melina von gagern, wife of the butcher: lale weisshaar, apprentice: matthias beier, butcher: patrick braun sister of the butcher: carolin maiwald, wife of the butcher from across: alexa wilzek, butcher from across: michael seyfried, sarah: viola wedekind, shop girl: beba ebner, stage direction: mario andersen, set design: folko winter, costume design: kerstin junge, light design: björn gerum SODOM AND GOMORRA. THIS IS YOUR FATHERS BUTCHER'S SHOP, AND YOU WANT TO MAKE A BROTHEL OUT OF IT. FLESH COMES FROM FLESH, YOUNG BROTHER, THAT'S ALL. Two Butchers. Two Worlds. The World of the Native and the World of the Foreigner. In a World without Stability, Tradition or Hope, a World that is losing his Clarity, that is getting out of control and that is threatening to mix up the Native with the Foreign, it's neck or nothing! Primarily it is a matter of a homemade blood sausage and the survival of a butchers family in the third generation that is disrupted by racism. It is also a matter of the 'Merguez' from Marrakesh, the Sausage of the Rival, the Arab from vis-á-vis. And it is a matter of meaningless Sex. The Clarity of the clear-cut black and white World becomes blurred. Stupidity, Lust and Desire are not only released in a Peepshow. Because of Weakness, Embitterment and Listlessness their Hopes and Dreams are on the verge of fading. In this grotesque parable about a Sociotope reduced to Carnity the Drag Queen Chéribibi sets the ball rolling in this fateful Village. He closes the circle of the carnal Round and lures into Hazard.festival - 'Stück für Stück zum Glück' - 4th festival for new dramatic art - Theater Halle 7, Munich - 'CRASH' by Albert Ostermaier - actress: Lale Weisshaar - stage direction: Dieter Nelle - set design: Folko Winter / Dieter Nelle - costume: Kerstin Junge - sound-collage: Dieter Nelle - light design: Matthias Conrad - abridgement from the Opera Libretto 'Crushrooms', written for the Theater Basel - 'Hallo, Sie' by John von Düffel - actor: Uwe Kosubek - stage direction: Dieter Nelle - set design: Folko Winter - costume: Fabiola Schiavulli - 'PARK (if drinking don't kill me i don't know what will)' by Andri Beyeler - with Arlette Wahlen, Andreas Mayer and Milan Pesl - stage direction: Ercan Karacayli - set design: Folko Winter - Mini Drama, created within the Biannual Theater Festival Wiesbaden - 'Träumen Sie Auch So Oft Von Wohnungen?' by Sibylle Berg - actress: Tini Prüfert - stage direction: Petra Dannhöfer - sets and production: Folko Winter
First Scene: The World Chess Championship is about to take place in Merano, a Tirolean town in northern Italy. The champion (The American, in his mid-thirties) is defending his title against a new challenger (The Russian, in his early forties). The people of Merano are by and large very enthusiastic about the great event that is taking place in their small community. The American is enthusiastic about the potential financial rewards of the match and about his own skill at bringing what has hitherto been a minority interest sport to the frenzied attention of the world media. The American gives a press conference at his hotel at which he behaves petulantly and aggressively, denouncing his opponent, every other Soviet and the press with equal vigour. His performance is watched on television by the Russian and his KGB-employed second, Molokov, in their hotel. Molokov is inclined to dismiss the American as a nut. The Russian concedes that his opponent is eccentric but realises that every outrageous move made by the American is a calculated one. The Russian reflects upon his own rise to the top. The Opening Ceremony is a hugely colourful event. Merano has.pulled out all the stops. The Arbiter of the match points out with great gusto that his word is final during the series of games while Merchandisers, Press, Politicians, Businessmen and Diplomats all struggle to get everything they can from the excitement building up to fever pitch around the contest. The American stages an effective and insulting walkout during the Arbiter's lengthy recap of the match regulations immediately after the Opening Ceremony. None are more insulted than his own second, Florence Vassy, who is left to defend her player's indefensible behaviour to a sneering and pompously protesting Molokov. During this exchange she meets the Russian player for the first time. The Russian shows some sympathy for her situation. The Arbiter continues to prattle on about the rules. Florence confronts the American back at their hotel, telling him that she cannot tolerate his treatment of her much longer. We learn that she was born in Hungary, left that country when only two with her mother in 1956 during the uprising, and is now a naturalised British citizen. She has never discovered what hapened to her father who 'disappeared' when the Hungarian uprising was crushed. She is determined to find out. She has worked for the American for seven years, since meeting him during a chess tournament in England. We suspect their relationship is almost like that of a mother and child, although both are around the same age. Their argument reinforces her belief that the only person she can ever really rely on is herself. The first game of the contest begins with an atmosphere of mutual loathing hanging over the proceedings as the two players make their first moves. Tension builds as much offboard as on with both men resorting to underhand tactics to distract or enrage the other. Suddenly, high drama as the two players fling the board up into the air. They walk out after coming near to blows. Consternation everywhere. Florence and Molokov have an unofficial meeting to discuss the collapse of the match, which no one really wants to abandon. After some spirited insult-trading, Florence takes the initiative and tells Molokov where and when he is to deliver his player for a secret, off the record, meeting between the two contestants, in order that the match can resume without either party losing face. Molokov attempts to rattle Florence at one stage by implying that he knows some Hungarian history she might like to learn about. In a private room in a restaurant halfway up a Merano mountain, Florence and the American arrive for the secret meeting. The Russian is late and the American leaves the restaurant in mock disgust. Almost at once the Russian and a junior member of his backup team arrive to find no opponent waiting for them, only his opponent's second. During the conversation that follows, the Russian and Florence are quickly attracted to each other, the almost romantic mood rudely interrupted when the American returns. The American and the Russian argue, trade insults and jokes but thanks largely to Florence's delicate touch, they both agree on a press statement sharing blame for the breakdown and to resume playing. Some days later, the American and Florence are discussing the progress of the match. Things are going badly for the American who is unpleasantly agitated. The cause is all but totally lost. He blames Florence for his failure and as they hurl abuse at each other, she tells him she is going to leave him after the match, even if by some miracle he won it. The American is devastated and alternates between fury and pleading with her to stay. His paranoia about the Reds surfaces - he is convinced that the Soviets have something to do with both his loss of form and Florence's desertion. The conclusion of their argument is a 'squalid little ending' to their relationship. Even after Florence has left, the American continues to justify his actions to himself. At an unidentified Western embassy some days later, the Russian, the newly-crowned world chess champion, asks for political asylum, although he has problems winning the instant support and interest of the civil servants in the embassy. Eventually he gets the forms and freedom he wants. Certain he has made the right decision, he is equally certain of what he will never be able to leave.Second Scene: One year has passed. The Russian is to defend his title against a new challenger from the Soviet Union in Bangkok, Thailand. The American and some locals discuss the unusual venue for the championship. Florence and the Russian, who have been lovers since his defection, are in the Oriental Hotel, Bangkok. They discuss his new opponent and wonder why the American is in town, as he has played no serious chess since his defeat in Merano. They also talk about the refusal of the Soviet authorities to let his wife out of the U.S.S.R. The Russian leaves to discuss tactics with his seconds; Florence, alone, speculates about their future together. Molokov and his team are confident that this time around they have a player who is totally trustworthy and can be relied upon (a) to win and (b) to stay in Russia. Their new champion is a rather weird introvert who only seems to be able to function at full steam when talking or playing chess. The Russian is interviewed on Thai TV. To his amazement he discovers that his interviewer is the American who proceeds to ask him about his personal life, about Florence and about his politics - never about chess. The American finally tells him (on the air) that arrangements have been made to fly his wife into Bangkok in time for the match. Enraged, the Russian storms out. The Russian and Florence watch his wife (Svetlana) on television arriving in Bangkok. The event brings the tension between them to a climax. The Russian says he must leave Florence for the duration of the competition. Florence is left alone with the TV still showing Svetlana's image. She recalls how well she knows the lover who has just left her. Svetlana recalls how well she knows her husband. The American forces his way into the Russian's quarters to offer him a deal. Despite the personal pressures already weighing heavily on the Russian, he has begun the match in great style, winning the first two games. The American now says that if his winning streak should suddenly come to an end then Florence will not be given information he claims to have received from the Soviets about her father. This information is extremely unpleasant, revealing her father to have been a traitor to his people, not a hero, responsible for a score of deaths. The Russian does not know whether to believe him or not, but throws him out. The American then approaches Florence, suggesting that if she would only return to him, not only would they be once again the greatest chess team ever witnessed, he would also be able to provide her with news (he does not say whether it is good or bad) she has always wanted about her past. She too rejects his offer. His frustration and rejection by Florence cause the American to explode in a fury of self-pity and anger. The deciding game in the match begins. Memories of former champions are evoked. Molokov and the American have a conversation which reveals them to have been in league against the Russian, albeit for very different reasons. Florence, watching the match, although not knowing that her lover has been put under pressure to lose, sees his obsession with victory destroying his ability to care for her. The Russian, defying everyone, plays like a dream and annihilates his opponent. He finds himself amused and delighted by the fact that his various enemies have so misjudged his will to win. He may have failed in his efforts to sort out his private life but he has succeeded in his professional, public life and he now knows that this is the only success he really wants. He rejoices in his victory, but even as the crowds acclaim him and as his wife vainly attempts to make some kind of contact with him, he almost immediately feels a sense of hollow anti-climax. He despises himself for the narrow selfish ambitions and desires that satisfy him. So does Svetlana; any chance of reconciliation between them is gone. They both acknowledge, she with bitterness, he with resignation, that henceforth their 'one true obligation' is to themselves. Whereas the Russian, for the first time, has been able to put his career before everything else, the change has gone the other way for the American. He hardly thinks of chess now; only that his machinations have failed to alleviate his personal despair - Florence will not return to him even if her relationship with the Russian has foundered. He plans his revenge on both Florence and the Russian, while Molokov, apprehensive about his own future, prepares suitable treament for his failed protégé. Epilogue: But has that relationship foundered? Florence and the Russian reflect, simultaneously but separately, upon their story that they thought was a very happy one; like the game of chess the game of love can be played in an almost limitless number of variations. Perhaps this was just one of many games that end in stalemate 'Yet we go on pretending, stories like ours have happy endings.' As they finish, the American is seen approaching Florence. He has some news for her ... Opera project 'electra' sets and production for the tyrolean festival erl, stage photos, sketches, press, Richard Strauss 'Elektra', Premiere on august 19th 2005 at the Passionsspielhaus Erl, martina tomcic, svetlana sidorova - Clytemnestra, cynthia makris, sabine türner - Electra, elisabeth-maria wachutka, elena comotti d'adda - chrysothemis, andrew brunsdon, drummond walker - Aegisthus, franz hawlata, raphael sigling - Orestes, thomas hay- guardian of Orestes, junko saito - confidante, annalisa winberg - trainbearer, stefan zelck - a young servant, michael doumas - an old servant, monica bozzo - the overseer, rena kleifeld - 1st maidservant, monika wäckerle - 2nd maidservant, anahita ahsef - 3rd maidservant, jae hee kim - 4th maidservant, susanne geb - 5th maidservant, prof. dr. gustav kuhn - musical leadership and stage direction, folko winter - set design, lenka radecky-kupfer - costume design, christian eder, gustav kuhn - lighting, inntal-choir (conductor: jürgen dorsch), orchestra of the tyrolean festiv - The prehistory: On his return from the Trojan War, King Agamemnon was murdered by his wife, Clytemnestra, and her lover, Aegisthus. Electra, the daughter of Agamemnon and Clytemnestra, wishes to avenge her murdered father. She is awaiting the return of her brother, Orestes, who was removed from the court as a child after the murder of his father. The plot: The maids taunt and jeer at Electra, who is forced to live as an outcast before the palace gates. The only one to remain loyal to her is the youngest of the maids, who is abused by the others as a result. Electra invokes the ghost of her dead father and conjures up the image of his murder before her mind's eye. She has a vision of the day on which she and Orestes will have their bloody revenge. Her sister, Chrysothemis, warns Electra that their mother, Clytemnestra, is planning to have her locked up. Chrysothemis, who longs passionately for love and a life of fulfilment, is afraid that she might meet with a similar fate. She blames her sister for the situation in which they both find themselves. Clytemnestra is tortured by nightmares in which Orestes appears to avenge his father. She approaches her daughter, hoping that Electra will say something to stop her having these dreams. She does not, however, understand what Electra means when the latter tells her that she will no longer be plagued by these nightmares once the right person has been killed by the axe. Just as Electra, overcome by hate, flings her plans for revenge in her mother's face, the Queen receives the news of Orestes' death. She laughs at her daughter scornfully and disappears into the palace. Electra is now determined to carry out her plan for revenge on Clytemnestra and Aegisthus with the sole help of Chrysothemis. But Chrysothemis refuses to become involved. A stranger now appears, claiming that he is the messenger who has come to inform the court of Orestes' death. When Electra curses the messenger and announces who she is, the messenger reveals himself as Orestes. He has come to avenge their father. Before Electra can hand him the axe with which Agamemnon was slain and which she has kept for Orestes, he is called into the palace to appear before the Queen. The Queen's scream, as she dies, release Electra from her suspense. Aegisthus now returns. Electra greets him with feigned friendliness, confirms the news of Orestes' death and accompanies Aegisthus into the palace, where Orestes awaits him. In her joy at the vengeance which has been wreaked, Electra is hardly aware of Chrysothemis when the latter comes to tell her that Orestes has arrived and has killed Clytemnestra and Aegisthus.Project ws 01/02 - 'Experimental construction - A residential house made with artificial light and daylight' - Concept, Terms of reference: For a married couple of collectors I was supposed to develop a building, consisting of light components (walls and roofs) and heavy components (ceilings and central elements). The experience with daylight (day aesthetics) is the central topic with reference to artificial lighting (night aesthetics) using the newest material and technological spectrum of translucent materials (capillary, holographic, matted panes etc.) and with the current evolutions of lighting engineering. The functional aspects of use of sight- and sun protection as well as a clear contact with energetic claims (summer heat shield / heat extraction and also optimal lagging) are to be considered. The use of the newest photovoltaic components for electricity and heating is expected. The building should be designed for a married couple who collect stringed instruments. It should be experimental and innovative in which natural ressources like sun, the earth's heat and rainwater are sensibly used. The building is supposed to be subordinated to the existing main building without losing originality. It has to express exactly the same expedient and aesthetic sense at night as well as on a sunny summers morning. The building should be designed for a married couple who collect stringed instruments. It should be experimental and innovative in which natural ressources like sun, the earth's heat and rainwater are sensibly used. The building is supposed to be subordinated to the existing main building without losing originality. It has to express exactly the same expedient and aesthetic sense at night as well as on a sunny summers morning. On the technical side the building is supposed to guarantee a high level and use of newest glass and window technique like switchable and lightguiding panes should be integrated. The building should include a living room with integrated workplace, an exhibition area, guest toilet, bathroom, bedroom and a storage area.project short film - shooting for the short movie 'atome' in berlin-wünsdorf - director: till steinmetz, camera: thilo schmidt - synopsis: When the end of the world is announced, nobody doubts that this prediction is true. After initial excesses and chaos, the community rejoins to an instable mass again. No one trusts one another but together they await the apocalypse. This is a desperate situation, in which people panic over and over again and everyone tries to find a way to deal with this situation.Hanna is an outsider, who trusts no one. Having doubted the integrity of humanity before the news of the impending apocalypse, the past months have confirmed her doubts. She is now caught in a state of inertia. What is the sense of starting something important, getting involved with people or facing conflicts if the world goes down tomorrow?
concept for production 'hänsel und gretel' by engelbert humperdinck (1854 - 1921) - SYNOPSIS: Act I: Hänsel and Gretel, a broom-maker's children, are hard at work. In hopes of cheering up her moody and hungry brother, Gretel tells him a secret: a neighbor has brought them a pot of milk, and they will be having sweet rice pudding for supper. In their joy, they don't notice that their mother has come home. Angry that the children are dancing around the room instead of getting their work done, she comes after them with a stick. In the course of this, she bumps into the table and knocks over the milk. Now they can forget the nice supper, and the two children are sent off into the woods to get some berries to replace their meal. Shortly thereafter, their father comes back from town, overjoyed and a little drunk. His brooms have sold well, and he has brought some tasty treats for dinner. His joy evaporates, however, when he hears that his children are out in the woods alone. The parents go off looking for Hänsel and Gretel. - Act II: Gretel sits under a tree binding some flowers into a wreath. Hänsel comes over with a basket full of freshly picked strawberries. The cuckoo calls. Engrossed in frolicking and nibbling, the children forget that they were supposed to bring home some food for supper. Night falls. Hänsel has lost his way, and the children start getting frightened. They lay down on a mossy hill: the Sandman comes and puts them to sleep. Angels climb down a golden staircase and watch over them. - Act III: The Dew Fairy arrives in the morning and awakens the children. While they tell one another their dreams, the mists suddenly divide - and they see a gingerbread house in front of them. Covered with icing and magnificent gingerbread, it tempts Hänsel and Gretel to come closer; even a menacing voice asking questions doesn't bother the hungry children. Then the Witch comes sneaking up, catching Hänsel in a trap. She locks him in a cage because he has to be fattened up so he can later become a tasty roast. The Witch heats up the oven and rides around gleefully on her broom. First it is Gretel's turn, but she tricks the Witch. When the Witch tells her to crawl into the oven to check on the gingerbread, she tells her she must first show her how to do it. As soon as she sticks her head into the oven, Hänsel and Gretel pounce on her, push the Witch into the oven and lock the door. This sends the roof of the oven flying into the air, and the gingerbread figures are changed back into boys and girls. In their place, the Witch now appears baked into a huge gingerbread cake. A heavenly court has condemned her to fall victim to her own sorcery.concept first act: The parents' house is placed to the left of the stage. The square house is colored in several hues of red. Hung behind the house is a very high and bright back drop, which can be lit in different colors. The house consists of two mechanially linked elements, the first consisting of the base and back wall, the second of the ceilling and side walls. In the first position the back plane is masked by a red drapery, which is automatically pulled to the ceiling when the two parts are moved into the final position. In the inside are a stylized oven and a table with two stools. The semicircular oven is in the left hand corner. It is open on the top and he can be lit from the inside.The table is hinged and is folded out when the two elements of the house are pushed together. On the right and the left walls are each two stripes of light clad with frosted glass. The ceiling contains a large cut-out, in order for the red drapery at the ceiling to be illuminated from above.concept second act: The tree is the central point of the location. He consists out of twirled drapery an is fixed in the grid. He can be lighted from above and is maneuverable. The scenes with the tree are rather held in blue and white tones. The tree itself is similar to an gradually upward widening triangle.concept third act: The witch's house is placed right of the stage. It's painted in green tones and it's scaly like dragon scales. The house is half-round and the roof tapers off like a witches hat.The exterior is closed except for two clacks in the roof. As well as the tree the witch's house has a trangled shape. On the left side of the house is a cage. The prison bars are from bunched light, which is refracting in the fog. Behind the house is a very high, bright back drop. The drop can be illuminated in any colors and he can be moved. He has a lightly structured surface. Left of the cage and right of the witch's house are placed lightly hightened platforms. Their copings are provided with loops. At the end of the third act the gingerbread figures stand up through these holes. They are covered first with textiles, then they drop the cloths. The oven stands at the right side in front of the house. He has a small clack and is made from drapery. This effects that he can be illuminated from the inside and he can collapse at the end of this act.