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MIMOS 2020

Jossi Wieler

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Edited By Paola Gilardi

Jossi Wieler ist einer der prägendsten Schauspiel- und Opernregisseure im deutschsprachigen Raum. Kreation im Dialog und tiefgründige Erkundungen eines Stoffs auf seine gesellschaftspolitische Relevanz für die Gegenwart zeichnen sein Schaffen aus. Mehrstimmig gibt der vorliegende Band Einblick in seine Arbeitsweisen, die wechselseitige Inspiration im Probenprozess und die Ethik seiner Ästhetik.

Jossi Wieler est l’un des metteurs en scène de théâtre et d’opéra les plus influents de l’espace germanophone. Son art repose sur la création en dialogue et sur une exploration des pièces et partitions à la recherche de leur pertinence pour le monde d’aujourd’hui. A plusieurs voix, cet ouvrage met en lumière sa démarche, l’inspiration mutuelle dans le processus de répétition, et l’éthique de son esthétique.

Jossi Wieler è uno dei registi teatrali e d’opera più apprezzati nel mondo germanofono. La creazione in dialogo e lo scavo nelle pièce e partiture al fine di estrapolarne la rilevanza per il presente caratterizzano il suo lavoro. A più voci, questo volume mette in luce il suo approccio, l’importanza dell’ispirazione reciproca nel processo creativo, e l’etica della sua estetica.

As one of the defining theatre and opera directors in the German-speaking world, Jossi Wieler has developed his signature style by creating ideas through dialogue and dissecting works for their socio-political relevance for present-day audiences. In this volume, a range of voices shed light on his working methods, the significance of reciprocal inspiration in the creative process and the ethics of his aesthetic.

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Jossi Wieler – The Team Player

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Jossi Wieler’s name first appeared in the success statistics of German-language theatre in 1986. His Bonn production of Heinrich von Kleist’s Amphitryon1 was invited to the Berlin Theatertreffen. Six years after his German stage debut as assistant director at Schauspielhaus Düsseldorf, he had reached the pinnacle of what was then known as German-language spoken theatre. By 2005, he had conquered three additional peaks at the same place and same festival with his stagings of Elfriede Jelinek’s Wolken. Heim.,2 Euripides’ Alcestis3 and Paul Claudel’s Break of Noon.4 In 1994, his Hamburg interpretation of Jelinek’s Wolken. Heim. was voted Production of the Year by Theater heute magazine. With this work, Jossi Wieler had found one of his key themes for the stage: the collective act of remembering the calamitous era of Jewish-German history, the breakdown of civilisation that was the Holocaust. From then on, and rightly so, he has also been considered a Jelinek specialist and has transformed her meandering language into unique dramatic characters. In Rechnitz (The Exterminating Angel)5 they are messengers relaying a problematic legacy of the last phase of the Second World War who – hiding behind obscure formulations and justifications – revive and then immediately conceal the gruesome event of the execution of 200 Jewish ←80 | 81→forced labourers in Rechnitz, in the Austrian province of Burgenland. Ironically, this Jossi Wieler production won the Austrian Nestroy Theatre Prize in 2009, in the category of Best German-Language Performance, with Süddeutsche Zeitung calling it a “mass grave of...

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