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MIMOS 2020

Jossi Wieler


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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Starting All Over Again



MU: What memories do you have of those first years in which you realised so many productions in rapid succession? Who influenced whom and in what way?

AV: Jossi’s style had been shaped by his years studying in Tel Aviv and his experiences as an assistant director in Düsseldorf, and mine by my collaboration with Neuenfels and from my time at the Düsseldorf Art Academy. There was a lot that had to be clarified or discussed, and because Jossi stood great store by exchanging ideas on content (and still does!), we did this often – and very intensely. We soon knew each other very well and were already anticipating the other’s reactions during discussions. This made the inputs contributed by the dramaturgical and musical members of the directing teams so important.

Going together to stage an Amphitryon2 production in Bonn felt to me like an important step for the two of us. The actors there were of high calibre – people like Robert ←217 | 218→Hunger-Bühler and Michael Prelle – and the conditions excellent. Jossi’s staging on Bonn’s Werkstattbühne was very quiet and very witty – and in 1986 the production was invited to the Theatertreffen in Berlin. There, however, the space was larger and the intimacy lost, which spoilt the performance. People found it too quiet – but that was actually the essence of Jossi’s unique style! I don’t know if it was this performance that led to him being hired by the Staatstheater...

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