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.
An Artistic Cosmos Prospering from Mutual Inspiration
“What I love about theatre is the transformation that takes place.” Jossi Wieler talks about his work, the worlds of fact and fiction, dramatic narratives and how they are formed by involving his artists in a collective creative process. And about an ultimate uncertainty – that must remain. The conversation took place on 4 September 2020 at the Deutsches Theater Berlin.
Andreas Klaeui: Jossi Wieler, we’re sitting next to the rehearsal stage where you’re preparing your production of Peter Handke’s new play, Zdeněk Adamec.1 How far are you into rehearsals?
Jossi Wieler: We’ve only been rehearsing for five days. There should be six actors in total but, with the coronavirus, our numbers have been cut during these first rehearsals. We started off by looking at the play’s general context: we read other texts that Handke has written, watched films, talked. We’re now in the phase of sitting at the table, reading the play, scrutinising it, sharing ideas – while I try to convey the concept behind the production in such a way that it triggers something in the actors: the idea is to inspire them, and steer their imaginations in the direction we want the narrative to take.
AK: Does that mean you’ve prepared your concept in advance and already allocated parts of the script to particular speakers? Handke doesn’t assign lines to specific characters.
JW: The concept, including how the set is to look and who plays which roles, was established at...
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