Thomas Ostermeier is the most internationally recognised German theatre director of the present. With this book, he presents his directorial method for the first time. The Theatre of Thomas Ostermeier provides a toolkit for understanding and enacting the strategies of his advanced contemporary approach to staging dramatic texts. In addition, the book includes: Ostermeier’s seminal essays, lectures and manifestos translated into English for the first time. Over 140 photos from the archive of Arno Declair, who has documented Ostermeier’s work at the Schaubühne Berlin for many years, and by others. In-depth ‘casebook’ studies of two of his productions: Ibsen’s An Enemy of the People (2012) and Shakespeare’s Richard III (2015) Contributions from Ostermeier’s actors and his closest collaborators to show how his principles are put into practice. An extraordinary, richly illustrated insight into Ostermeier’s working methods, this volume will be of interest to practitioners and scholars of contemporary European theatre alike.
As European theatre directors become a familiar presence on international stages and a new generation of theatre makers absorbs their impulses, this study develops fresh perspectives on Regie, the Continental European tradition of staging playtexts. Leaving behind unhelpful clichés that pit, above all, the director against the playwright, Peter M. Boenisch stages playful encounters between Continental theatre and Continental philosophy. The contemporary Regie work of Thomas Ostermeier, Frank Castorf, Ivo van Hove, Guy Cassiers, tg STAN, and others, here meets the works of Friedrich Schiller and Leopold Jessner, Hegelian speculative dialectics, and the critical philosophy of Jacques Rancière and Slavoj Žižek in order to explore the thinking of Regie – how to think Regie, and how Regie thinks. This partial and ‘sideways look’ invites a wider reconsideration of the potential of ‘playing’ theatre today, of its aesthetic possibilities, and its political stakes in the global neoliberal economy of the twenty-first century.
On the 20th anniversary of artistic director Thomas Ostermeier's time at Berlin's Schaubühne Theatre, this important study reflects on the contribution the theatre has made to contemporary theatre, not just in Germany, but around the world. Ostermeier has kept extending and refining the important notion of German Regietheater (directors' theatre) with the Schaubühne Theatre being its internationally famous birthplace under the previous artistic direction of Peter Stein. Through doing so, the work produced at the Schaubühne has transgressed established divides of text-based and devised theatre, and blurred the borders between theatre and dance. Combining scholarly reflection with interview material, this essential collection investigates how theatre has been reinvented by the Schaubühne under Ostermeier's tenure, bringing together international theatre scholars such as Erika Fischer-Lichte, Marvin Carlson, Jitka Goriaux Pelechova, Benjamin Fowler, Ramona Mosse and Sabine Huschka. This study also considers productions by some of Ostermeier's past and present collaborators, such as Katie Mitchell, Falk Richter and Sasha Waltz. This edition also includes the first English translation of Schaubühne's original manifesto “The Mission” (1999); a contribution from Ostermeier's long-term co-director Jens Hillje; a contribution from Hans-Thies Lehmann on Falk Richter; and an interview with Thomas Ostermeier by Clare Finburgh Delijani.
A full-color, step-by-step atlas of rhinoplasty surgical techniques Part of the McGraw-Hill Plastic Surgery Atlas series, Rhinoplasty is an unmatched visual guide to learning how to successfully perform this challenging procedure. Featuring 180 full-color illustrations, this is the perfect primer for surgeons to begin and sharpen their understanding of rhinoplasty. Rhinoplasty addresses the relevant anatomy, operative setup, surgical steps, and postoperative care to optimize patient outcomes. The book is organized by anatomic location and covers in detail the numerous maneuvers that are frequently used to shape the various parts of the nose. Designed to provide the most relevant information in the clearest manner possible, Rhinoplasty features an easy-to-apply presentation consisting of bulleted text on the left- hand page and high-quality illustrations on the right. Opening chapters include coverage of nasal anatomy, cartilaginous support, arterial support, innervations and muscles of the nose, treatment planning, operative setup, and basic approaches. The book then goes on to cover actual corrections, including: Dorsal hump deformity Doral augmentation Radix reduction and augmentation Increasing and decreasing tip rotation Lengthening the short nose Alar base modification Alar-columella relationship modification Septal modification And more Also included is an appendix illustrating key surgical instruments.
Thomas Ostermeier is the most internationally recognised German theatre director of the present. With this book, he presents his directorial method for the first time. The Theatre of Thomas Ostermeier provides a toolkit for understanding and enacting the strategies of his advanced contemporary approach to staging dramatic texts. In addition, the book includes: Ostermeier’s seminal essays, lectures and manifestos translated into English for the first time. Over 140 photos from the archive of Arno Declair, who has documented Ostermeier’s work at the Schaubühne Berlin for many years, and by others. In-depth ‘casebook’ studies of two of his productions: Ibsen’s An Enemy of the People (2012) and Shakespeare’s Richard III (2015) Contributions from Ostermeier’s actors and his closest collaborators to show how his principles are put into practice. An extraordinary, richly illustrated insight into Ostermeier’s working methods, this volume will be of interest to practitioners and scholars of contemporary European theatre alike.
Regie, the Continental European tradition of staging playtexts, in particular from the canonical dramatic repertoire, provokes as much heartfelt rejection as passionate fascination. This book leaves behind unhelpful clichés that pit, above all, the director against the playwright, or the playtext against its performance. Instead, it stages a meeting between Continental theatre and Continental philosophy in order to explore the thinking of Regie - how to think Regie, but also how Regie thinks. Taking prompts from historical as well as recent manifestations of Regie in German, Dutch and Flemish theatre, the two main parts of this study develop new perspectives on the distinct cultural history of Continental Regie and its aesthetic politics (Part I), and on topics and ideas appearing in contemporary Regie, such as 'truth', 'play', 'realism', and the roles of spectating, of media and critique (Part II). The contemporary Regie work of Thomas Ostermeier, Frank Castorf, Ivo van Hove, Guy Cassiers, tg STAN, Andreas Kriegenburg, Michael Thalheimer and Jürgen Gosch here meets the theatral play in the works of Friedrich Schiller and Leopold Jessner, in Hegelian speculative dialectics, in the ideas of the German school of 'theatrality studies' and the critical philosophy of Jacques Rancière and Slavoj %Zi%zek. Through this partial and playful 'sideways look' on Regie, the study invites theatre students, researchers, critics, artists and spectators alike to reconsider the wider potential of theatre today, its aesthetic possibilities, and not least the political stakes of 'playing' theatre in the global neoliberal cultural economy of the twenty-first century.
As European theatre directors become a familiar presence on international stages and a new generation of theatre makers absorbs their impulses, this study develops fresh perspectives on Regie, the Continental European tradition of staging playtexts. Leaving behind unhelpful clichés that pit, above all, the director against the playwright, Peter M. Boenisch stages playful encounters between Continental theatre and Continental philosophy. The contemporary Regie work of Thomas Ostermeier, Frank Castorf, Ivo van Hove, Guy Cassiers, tg STAN, and others, here meets the works of Friedrich Schiller and Leopold Jessner, Hegelian speculative dialectics, and the critical philosophy of Jacques Rancière and Slavoj Žižek in order to explore the thinking of Regie – how to think Regie, and how Regie thinks. This partial and ‘sideways look’ invites a wider reconsideration of the potential of ‘playing’ theatre today, of its aesthetic possibilities, and its political stakes in the global neoliberal economy of the twenty-first century.
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