{"id":64,"date":"2022-02-03T14:31:04","date_gmt":"2022-02-03T13:31:04","guid":{"rendered":"http:\/\/juliusflorin.com\/?page_id=64"},"modified":"2026-03-27T10:52:42","modified_gmt":"2026-03-27T09:52:42","slug":"arbeiten","status":"publish","type":"page","link":"https:\/\/juliusflorin.com\/en\/arbeiten\/","title":{"rendered":"Arbeiten"},"content":{"rendered":"
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Stage Design Collaboration<\/strong> The Time Machine
by Helgard Haug (Rimini Protokoll), with music by Barbara Morgenstern
based on H. G. Wells
Staatstheater Cottbus, 2026<\/p>

Text Version, Direction: Helgard Haug (Rimini Protokoll) | Composition, Live Music: Barbara Morgenstern | Stage Design, video: Marc Jungreithmeier | Costume Design, Props: Tatjana Kautsch, Dominik Steinmann | Choir Conductor: Ilja Panzer | Dramaturgy: Lena Fritschle | Artistic Collaboration: Milli Keil<\/p>

with: Torben Appel, Lucie Luise Thiede, Susann Thiede, Markus Paul and the 'Timemachine Choir'<\/p>

A scientist fulfills a dream of mankind, builds a time machine - and ends up in paradise: In the year 802,701, people live in almost childlike impartiality, freed from hunger, wage labor and violence. Or so it seems. But the longer his stay lasts, the more the time traveler must realise: The beautiful appearance is deceptive. Deep underground, in pitch-black tunnels between roaring machines, exists a second society. And the creatures on the surface? They are little more than their food. Time to get out of there. But where is the time machine?<\/em><\/p>

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Production Assistant<\/strong> Set Design<\/strong> Downgrade
TV Series by Natalie Scharf
Zweites Deutsches Fernsehen, 2025<\/p>

Direction: Sebastian Sorger | DOP: Matthias P\u00f6tsch | Set Design: Astrid Poeschke | Costume Design: Nicole Hutmacher | Production: Natalie Scharf<\/p>

with: Ulrich Tukur, Anja Kling, Julia Wilecke, Bella Bading, Moritz Bleibtreu, Caroline Frank ...<\/p>

Portofino, New York, St. Moritz, Vienna \u2013 Henry Wallberg owns a total of eight luxury hotels worldwide. This also benefits his wife Claire, daughter Juliet, and son Finn: the family leads a jet-set lifestyle. But when the hotel dynasty goes bankrupt, the snobs\u2019 daily lives are thrown completely off track. Suddenly, a shady stranger named Tom Curtis claims everything as his own and takes over the hotels. While the Wallberg family tries to cope with their financial and social downfall in a prefab apartment building, more and more dark secrets come to light. Some of these date back over 100 years and reveal that Tom Curtis is after much more than just the Wallbergs\u2019 fortune: he wants to destroy the family.<\/em><\/p>

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Junior Assistant Set Design <\/strong>Elodie
TV Movie by Esther Bernstorff
Norddeutscher Rundfunk, 2025<\/p>

Regie: Nicole Weegmann | Kamera: Falko Lachmund | Szenenbild: Tim Pannen | Kost\u00fcmbild: Teresa Grosser |\u00a0 Produktion: J\u00f6rg Siepmann, Harry Fl\u00f6ter<\/p>

with: Karoline Schuch, Eva Mattes, Sibylle Canonica, Michael Wittenborn, Minna W\u00fcndrich, Jan Krauter, Jean Alois Belbachir ...<\/p>

Elodie\u2019s happiness is on the verge of shattering\u2014her husband Mehdi wants to leave her because he feels lonely by her side. On top of that, the Brussels-based translator is repeatedly haunted by mysterious nightmares. To celebrate her mother Barbara\u2019s 65th birthday, Elodie travels to her parents\u2019 home in the L\u00fcneburg Heath, intending to tell them about the breakdown of her marriage. <\/em><\/p>

But before she gets the chance, she stumbles upon an episode from her earliest childhood: Because her mother was depressed after giving birth, Elodie was placed with a nanny. Her brother Ben, who has traveled there with his family, also learns of the story only once they arrive. Elodie wants to investigate the story and finds an ally in Pia, the sister of an ex-boyfriend\u2014Pia was cared for by the same nanny, Mrs. Wontroba, as a toddler. Elodie seeks her out \u2026<\/em><\/p>

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Associate Stage Design <\/b>Octavia
Opera by Reinhard Keiser
Handel Festival Halle\/ Goethe Theatre Bad Lauchst\u00e4dt, 2025<\/p>

Musical direction: Wolfgang Katschner | Direction: Tilman Hecker | Dramaturgy: Katinka Deecke | Stage design: Raimund Orfeo Voigt | Costume design: Lene Schwind | Lighting: Scott Bolman<\/p>

with: Johanna Kaldewei, Danae Kontora, Maria Ladurner, Frieda Jolande Barck, Tom\u00e1\u0161 Kr\u00e1l, Gwilym Bowen, Magnus Piontek, Christian Miebach, Johannes Gaubitz, Georg A. Bochow, Christopher Fischer, u. a. \/ lautten compagney BERLIN<\/p>

When the young Handel was working on his Agrippina, he also lifted whole sections from the score of Octavia by his former superior in Hamburg, Reinhard Keiser. One point of interest is that the two title characters are the mother and first wife of the Roman emperor, Nero, who won legendary status as a untalented musician and arsonist. In Keiser\u2019s opera, Octavia, who is being urged by her husband Nero to commit suicide, uses cunning to save her life. On the advice of the philosopher Seneca, she appears to Nero as her own ghost and succeeds in making him relent.<\/i><\/p>

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Assistant Stage Design\u00a0<\/strong>Ubu
by Alfred Jarry\/ German translation by Heinz Schwarzinger
Thalia Theater Hamburg, 2025<\/p>

Direction: Johan Simons | Associate Direction: Friederike Harmstorf | Stage Design and Video: Sascha K\u00fchne | Costume Design: Katrin Aschendorf | Draft: Stefan Tigges | Dramaturgy: Julia Lochte<\/p>

with: Marina Galic, Jens Harzer, Pascal Houdus, Thomas Loibel, Lisa-Maria Sommerfeld, Paul Smollich\u00a0<\/p>

The world is in turmoil, everything we relied on no longer safe. He\u2019s back! Sending his Ego-notations around the world. Spreading disinformation. Blabbermouthing. Distorting language at will and building alternative realities: \u201cMerdre! Shrit!\u201d The shit has hit the fan \u2013 and a pox on all morals. King Ubu is acting out his dreams of omnipotence. Killing and terrorizing his own people, going to war with other countries. What a joke. Hiding bitter truths. Nothing more fitting these days than sending King Ubu, Alfred Jarry\u2019s brazen despot, on stage. 128 years ago, he forced dainty noses to smell what they had always turned away from: Their own excretions. With insights into the fatal affinity of monstrosity and ridiculousness, of no holds barred and endlessly hollow banality. \u201cKing Ubu\u201d is the story of an egomaniacal petty bourgeois, an insolent tyrant whose devastation can be traced through history and right up to our times. At this moment, he is shattering democracy, delighting in the lack of resistance. The \u201cDebraining-Song\u201d is sung: See the machine working, watch it! See the brain bursting, watch it! See the pensioners trembling\u2026 Hurray for horny assholes, hurray for Papa Ubu!\u201d<\/em><\/p>

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Stage Design<\/b> The Tutor
based on J. M. R. Lenz
Max Reinhardt Seminar\/ Neue Studiob\u00fchne, 2025<\/p>

Direction: Lukas Sch\u00f6ppl | Costume Design: Lukas Traxler | Lighting: Ralf Sternberg | Music: David Lipp | Dramaturgy: Adriane Turri | Assistant director: Teresa Uhr<\/p>

with: Julius Bel\u00e1 D\u00f6rner<\/a>, Jan Henri M\u00fcller<\/a>, Marlena Reinwald<\/a>, Flo Sohn<\/a>, Jakob Leanda Wernisch<\/a>, Tristan Witzel<\/a>, Sarah Wockenfu\u00df<\/a>, Amrito Geiser<\/p>

L\u00e4uffer is a teacher of the latest generation: perfectly programmed, obedient and cheaper than a human. Employed by the von Berg family, he is responsible for the children's \u201ccomplete private education\u201d. He is exploited and constantly underpaid. You can't hurt a digital house slave's sense of honor because he has no feelings. Right? When his pupil Gustchen demands more and more from him, a scandal ensues: the comedy suddenly turns into a sharp analysis of (in)human relationships and takes on tragic depth.<\/em><\/p>

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Set Design<\/b> Bitpong, 2024<\/p>

Direction, Editing: Luis Schubert | DOP: Felix Schuster | Gaffer: Jonathan Deges | AC: Elisabeth B\u00f6rnicke | Costume Design: Viktoria Posavec | H&M: Barbara Stickler | Colorist : Noel Lardon<\/p>

mit: Saladin Dellers<\/p>

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Assistant Stage Design <\/b>Legende
by Kirill Serebrennikov, based on motifs from Sergey Paradjanov
Ruhrtriennale\/ Kraftzentrale Duisburg, 2024<\/p>

Direction, Set Design, Costume design: Kirill Serebrennikov | German Translation: Irina Bondas | Composition and Musical Direction: Daniil Orlov | Choreography: Ivan Estegneev, Evgeny Kulagin | Choir Direction: Simon Jangulashvili | Lighting Design: Sergei Kuchar | Video Design: Ilya Shagalov | Sound Design: Sven Baumelt | Soundscapes: Rustem Imamiev | Dramaturgy (German): Joachim Lux | Dramaturgy (Russian): Anna Shalashova | Artistic Production Manager Kirill & Friends Company: Alina Aleshchenko | Associate Set Design: Elena Bulochnikova | Associate Costume Design | Clara Rosina Stra\u00dfer | Costume and Stage Assistance: Elizaweta Veprinskaja<\/p>

with: Filipp Avdeev, Odin Lund Biron, Campbell Caspary, Pascal Houdus, Felix Knopp, Nikita Kukushkin, Svetlana Mamresheva, Karin Neuh\u00e4user, Daniil Orlov, Falk Rockstroh, Gurgen Tsaturyan, Tilo Werner<\/p>

LEGENDE presents the world of the famous, in the West largely unknown filmmaker Sergei Parajanov. The dazzling multiplicity and surreal creativity of his films are an inspiration, most recently for superstar Lady Gaga. LEGENDE does not present the biopic of an important artist. Instead, Serebrennikov features Parajanov with poetic wit as the allegory of an artist, a poet, a wanderer, a fighter and a rebel.\u00a0In ten legends, the kaleidoscope of his life between passion, eccentricity, beauty and oppression emerges, embedded in an infinitely rich cosmos of cultures.<\/em><\/p>

2024 is the centenary of Sergei Parajanov. Born 1924 in Tbilisi, he grew up in the Soviet Union, where he became a film director, taking a stand in his life and his art against nomenclature and repression. As a result, he spent time in prison and hard labor camps and was banned from making films. A wide array of artists, including Tarkowski, Fellini, Antonioni, Godard, Kurosawa, Louis Aragon, Elsa Triolet, Fran\u00e7oise Sagan and Yves Saint Laurent, admired his surreally poetic works and called for his release from prison, in most cases to no avail. Parajanov died in 1990 in Armenia, just months before Georgia, Armenia, Azerbaijan and Ukraine gained their independence and the Soviet Union collapsed.<\/em><\/p>

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Stage Design<\/strong>\u00a0Donna x Machina
by Lukas Sch\u00f6ppl
Max Reinhardt Seminar\/ Alte Studiob\u00fchne, 2024<\/p>

Direction, Text: Lukas Sch\u00f6ppl | Costume Design: Nina Holzapfel | Music: David Lipp | Lighting: Ralf Sternberg | Assistent Direction: Luis L\u00f6wenstein<\/p>

with:\u00a0Naomi Kneip, Bernadette Leopold, Jamie Petutschnig, Alexandra Schmidt, Florian Sohn<\/p>

Can a modern deus ex machina maneuver us out of the care crisis? Ageing, dying, forgetting - constants of human life that Lukas Sch\u00f6ppl addresses in his play \u201cDonna x Machina\u201d. Three women from three generations take center stage: The oldest suffers from dementia and becomes a care case. She sings - she no longer wants to communicate in any other way. No longer understanding her own mother, the daughter also feels misunderstood when she suddenly has family responsibilities again and has to give up her private life to do so. The youngest, Donna, is on the threshold of adulthood, wants to help, loses herself in the task of assisting her grandmother and becomes increasingly forgetful herself in the process.<\/em><\/p>

When the mental and physical strain of home care becomes too great, a 24-hour carer is called in to help. She is an intelligent robot. A metaphor for precarious and exploitative care work that turns people into machines. What sounds like the future is, on closer inspection, soberingly present.<\/em><\/p><\/div><\/div><\/div>

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Assistant Stage Design<\/strong> The Unknown Woman of the Seine\u00a0
by \u00d6d\u00f6n von Horv\u00e1th
Volkstheater Wien, 2024<\/p>

Direction: Anna Bergmann | Stage Design: Volker Hintermeier | Costume Design: Lane Sch\u00e4fer | Music: Heiko Schnurpel | Video Art: Sophie Lux | Lightdesign: Ines Wessely |\u00a0Choir Direction: Barbara Kier | Dramaturgy: Thomaspeter Goergen<\/p>

with:\u00a0Birgit Unterweger, Lucas Gregorowicz, Sona MacDonald, Evi Kehrstephan, Christoph Sch\u00fcchner, Nick Romeo Reimann, G\u00fcnther Wiederschwinger, Hardy Emilian J\u00fcrgens, Uwe Schmieder, Irem G\u00f6k\u00e7en, Fabian Reichenbach, Theresa Eilenberger, Elisaveta Lyssenko; Kinderchor: Rising Voices<\/p>

There's something funny about romantically hanging a floater over your bed, there's also something uncanny about lying sighing under a portrait that has been given the completely absurd title of \"Mona Lisa of Suicide\" - not to mention the fact that floaters, for all their love of the lily-bedded opulence of decadent painting, are not generally prone to relaxed smiles. But this is precisely what seemed to have fascinated the master of the uncanny and the comic, the expert on fairgrounds and Viennese nights in the midst of the end of the world; the poet who claimed that his plays were only funny because they were uncanny, and who dealt with this death mask twice: \u00d6don von Horv\u00e1th, for the first time in 1934 with \"The Unknown Woman of the Seine\". <\/em><\/p>

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Assistant Stage Design<\/strong> Heit Bin E Ned Munta Wuan\u00a0
by Wolfgang Menardi
Volkstheater Wien, 2024<\/p>

Direction, Stage Design: Wolfgang Menardi | Costume Design: Jelena Mileti\u0107 | Composition, Musical Direction: Matteo Haitzmann | Video Art: Ulrike Schild | Lightdesign: Voxi B\u00e4renklau, Ines Wessely | Sounddesign: Matteo Haitzmann |\u00a0Dramaturgy: Ulf Fr\u00f6tzschner<\/p>

with:\u00a0Samouil Stoyanov, Claudia Sabitzer, Matteo Haitzmann, Sixtus Preiss, Ingrid Eder, Flora Gei\u00dfelbrecht, Iphigenie P.<\/p>

The splendour is gone, the monarchy gone, even the Prater, Hitler and Haider gone, no more Felix Austria, no more empire, nothing. In the Natural History Museum, death peers macabrely through all the glass panes of the old display cases, the glass eyes of the dead animals glow. The Viennese are experts in conservation and specialists in appearances. They are embracing taxidermists. And death can look more vivid and powerful here than life itself. Franz Joseph, Maria Theresa, Sisi - they all still live here, and the ghosts of Heldenplatz rejoice and scream. The dead walk among us, and they are very lively.<\/em><\/p>

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Assistant Stage Design<\/strong> The Trial
by Franz Kafka
Thalia Theater Hamburg, 2023<\/p>

Direction: Michael Thalheimer | Stage Design: Henrik Ahr | Costume Design: Michaela Barth | Collaboration Costume Design: Kathrin-Susann Brose | Music: Bert Wrede | Sounddesign: Sven Baumelt | Video: Rasmus Rienecker | Lighting Design: Paulus Vogt | Dramaturgy: Emilia Linda Heinrich<\/p>

with: Marina Galic, Johannes Hegemann, Christiane von Poelnitz, Pauline R\u00e9nevier, Falk Rockstroh, Merlin Sandmeyer, Stefan Stern<\/p>

Somebody must have been telling lies about Josef K.\u201d Set in the middle of the glamour and squalor of the 1920s, Franz Kafka\u2019s literary masterpiece, \u201dThe Trial\u201d, is a parable for the disorientation of the individual and the untrustworthiness of perception. On his 30th birthday, Josef K. is arrested by a mysterious authority planning to put him on trial. The bank clerk defends his innocence adamantly and finds himself sucked into a mire of inscrutable ordinances and human disarray. Seduction and obsequiousness, obedience and betrayal \u2013 in short: powerless individuals in the clutches of an almighty society \u2013 surround him. Feverishly, K. tries to distinguish between sense and nonsense. Trapped in a erratic system, he longs for self-efficacy and puts himself on trial by painstakingly studying the scales of his guilt and innocence.<\/em><\/p>

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Assistant Stage Design<\/strong> King Lear
by William Shakespeare\/ German translation by Miru Miroslava Svolikova
Thalia Theater Hamburg, 2023<\/p>

Direction: Jan Bosse | Stage Design: St\u00e9phane Laim\u00e9 | Costume Design: Kathrin Plath | Dramaturgy: Christina Bellingen | Music: Jonas Landschier<\/p>

with: Wolfram Koch, Christiane von Poelnitz, Falk Rockstroh, Tilo Werner, Anna Blomeier, Toini Ruhnke, Pauline R\u00e9nevier, Johannes Hegemann; Live-Music: Jonas Landerschier, Leo Schmidthals, Tilo Werner<\/p>

We\u2019ve all had enough of the reign of old white men! Let the young people finally take over, particularly young women! \u2013 Even the king agrees. Now he must organise his estate, sort out fair distribution among the three daughters and withdraw from politics with dignity. But unfortunately, it\u2019s not that easy to overthrow power. When his youngest and favourite daughter doesn\u2019t receive a flattering declaration of love in the desired way he expects, he unceremoniously disinherits her. In view of his waning authority and in an act of hypocrisy, Lear sets alight everything around him and reduces it to rubble, until there\u2019s nothing left. Is it the obstinance of old age? Panic? Megalomania? The beginnings of dementia? Helplessly clinging on to his beloved rule? Seemingly it\u2019s a weakness that doesn\u2019t only affect him; but also the Earl of Gloucester, once his trusted confidante, who backs the wrong child and fails to get out of this game of power with any dignity.<\/em><\/p>

Why is it so hard to let go? Who carries the responsibility for legacy? And what conditions should you set out for the next generation? \u201cYou shouldn\u2019t have grown old until you were wise!\u201d summarises the fool, Lear\u2019s final companion on the stormy moor.<\/em><\/p>

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Assistant Stage Design <\/strong>Caligula
by Albert Camus
Deutsches Theater Berlin\/ Kammerspiele, 2022<\/p>

Direction: Lilja Rupprecht | Stage Design: Christina Schmitt | Costume Design: Annelies Vanlaere | Choreography: Ronni Maciel | Music: Philipp Rohmer | Video: Moritz Grewenig | Lighting: Kristina Jedelsky | Dramaturgy: Juliane Koepp<\/p>

with: Elias Arens, Natali Seelig, Jonas Sippel, Juliana G\u00f6tze, Christian Behrend, Rebecca Sickm\u00fcller, Guido Lambrecht, Manuel Harder, Harald Baumgartner, Jeremy Mockridge, Niklas Wetzel, Philipp Rohmer (Live-music)<\/p>

After the death of his sister and lover Drusilla, the young Roman Emperor Caligula is only able to perceive the limitations of life. Existence seems meaningless to him. In protest against a world \"which is intolerable in its current form\", he vows to eradicate lying and abolish privileges and conventions. The once popular ruler drives his longing for unlimited freedom on and on, destroying every value \u200b\u200buntil finally, he becomes a tyrant and murderer. At this point, the first conspirators join forces against him. Undeterred, Caligula expedites his state-sanctioned terror in ever more horrific ways \u2013 but intending to force his victims to resist. This resistance will necessarily result in his own annihilation, for \"one cannot destroy everything without destroying oneself.\"<\/em><\/p>

\"\"<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Associate Stage Design<\/strong>\u00a0Planet Egalia \u2013 A feminist ballad opera
Production: Christiane R\u00f6singer \/ HAU Hebbel am Ufer.
Parts of the play are adapted after \u201cEgalias d\u00f8tre\u201d by \u00a9 Gerd Brantenberg.
HAU Hebbel Am Ufer, 2021<\/p>

Artistic Direction, Text and Composition: Christiane R\u00f6singer | Direction: Meike Schmitz | Musical Direction: Laura Landergott, Elise Mory | Band: Laura Landergott, Julie Miess, Elise Mory, Albertine Sarges | Stage Design: Marlene Lockemann, Sina Manthey | Costume Design: Sophia Sylvester R\u00f6pcke | Choreography: R\u00faben Nsue | Video and Live-Camera: Kathrin Krottenthaler | Lighting Design: Hans Leser | Artistic Consultation: Aenne Qui\u00f1ones | Production Management HAU: Jana Penz | Production Management, Stage Management: Chiara Galesi<\/p>

with: Jona James Aulepp, Sila Davulcu, Malte G\u00f6bel, Kaey Kiel, Doreen Kutzke, Laura Landergott, Julie Miess, Elise Mory, R\u00faben Nsue, Minh Duc Pham, Sophia Sylvester R\u00f6pcke, Christiane R\u00f6singer, Albertine Sarges, Andreas Schwarz<\/p>

At the moment, dystopias are more popular than utopias. Things were completely different in the 1970s, when female authors were creating new models of society on distant planets and in possible terrestrial futures during the heyday of the feminist utopia. In Norway, Gerd Brantenberg simply reverses the power relationships in her novel \u201cThe Daughters of Egalia\u201d; in the USA, the triumvirate of feminist science fiction, Ursula K. Le Guin, Joanna Russ, and Marge Piercy not only eradicate gender differences in their works, but class-based society and private property as well. <\/em>\u201cPlanet Egalia\u201d brings these utopias together in the form of a ballad opera somewhere between a droll feminist tale and a gender didactic play and sends the characters in the novels off on a group trip to a different continuum of possibility: the earth in the year 2021.<\/em><\/p>

\"\"<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Assistant Stage Design<\/strong> Ultraworld
by Susanne Kennedy und Markus Selg
Volksb\u00fchne Berlin, 2020\u00a0<\/p>

Concept: Susanne Kennedy, Markus Selg | Direction & Text: Susanne Kennedy | Stage Design: Markus Selg | Sounddesign and Montage: Richard Janssen | Video: Rodrik Biersteker & Markus Selg | Costume Design: Lotte Goos | Lighting: Kevin Sock | Dramaturgy: Hannah Sch\u00fcnemann.<\/p>

with: Malick Bauer, Suzan Boogaerdt, Erica Eller, Vanessa Loibl, Kate Strong, Bianca van der Schoot, Frank Willens, Zo\u00eb Willens<\/p>

\"Everyone is a hero in his birth. He has undergone a tremendous transformation from a little, you might say, water creature living in a realm of the amniotic fluid and so forth, then coming out, becoming an air-breathing mammal that ultimately will be self-standing and so forth, is an enormous transformation and it is a heroic act, and it\u2019s a heroic act on the mother\u2019s part to bring it about. It\u2019s the primary hero form, you might say.\u201c (Joseph Campbell)\u00a0<\/em><\/p>

The creation of the world as a video game? Stage director Susanne Kennedy is today regarded as one of the leading voices in German theatre. Her trendsetting visions of the theatre are elaborated from perception-altering media, exploring the ambiguities that lie between reality and virtuality. It\u2019s all just a game. So is the fun then over once we\u2019ve lost one of our lives, or our life? Based on the rhythm of the creation narrative, Ultraworld addresses the question of how there can be anything out of nothing? Characters thrust into the (virtual) world become caught up in recurring configurations and looped conversations. Kennedy triggers the collapse of time in its forward progress within a sci-fi setting designed by visual artist Markus Selg. Actions collide with the rules of the game. \u2018Now that you have been reminded of your own mortality, what are you going to do with the rest of your life?\u2019 Kennedy\u2019s works transcend the traditional machinery of the theatre, the logic of time and space, of character and plot. In Ultraworld it\u2019s do or die: \u2018Evening came, and then it was morning\u2019, time and time again.<\/em><\/p>

\"\"<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Stage Design <\/strong>The legend of Dimi and Ela
by Sarah Amanda Dulgeris
Volksb\u00fchne Berlin\/ 3. Floor, 2020<\/p>

Direction: Katrin Lindner | Costume Design: Nina Lopac | Music: Jan Jordan | Lighting: Denise Potratz<\/p>

with: Antonis Antoniadis, Luc Schneider, Liv Stapelfeldt, Jan Jordan (Live-music)<\/p>

A fast-paced biopic. After three years of separation, internment in the \"Jugendwerkhof\" and several escapades, Ela and her young son apply to leave the country for the West in 1980. More children follow, more conflicts, no happy ending. The adult lovers struggle to find common ground, lose each other again, stagger ... The father is imprisoned, the family breaks up. The children in the middle between two people who tried: A new generation full of fear, anger and powerlessness grows up. Is history hereditary? Do we inevitably fall into the same traps?<\/em><\/p>

\"\"<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Assistant Stage Design<\/strong> Mamma Medea
by Tom Lanoye
Volksb\u00fchne Berlin\/ 3. Floor, 2020<\/p>

Direction: P\u0131nar Karabulut | Stage & Costume Design: Michela Fl\u00fcck | Music: Daniel Murena | Lighting: Denise Potratz | Dramaturgy: Degna Martens<\/p>

with: Elmira Bahrami, Malick Bauer, Amal Keller, <\/span>Paula Kober, Sarah Maria Sander, Sylvana Seddig<\/span><\/p>

A look that hits. Medea meets Jason, leader of the Greeks and representative of the culture, in Colchis. In her father Aietes' people he is met with hostility. With his companions, he imagines himself among barbarians. Medea, on the other hand, is a stranger to him, and she falls for his attraction to the other.<\/em>
Betraying Aietes and her sister Chalkiope, she stands by him in his trial for the Golden Fleece: Soldiers outgrowing the field, he kills them all and takes Medea with him to Corinth. Based on Euripides' tragedy, the transcription by Flemish author and playwright Tom Lanoye knows two culprits, the culprits of a marriage.<\/em><\/p>

\"\"<\/em><\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Assistant Stage Design<\/strong> Germania
based on Heiner M\u00fcller
Volksb\u00fchne Berlin, 2019<\/p>

Direction: Claudia Bauer | Stage Design: Andreas Auerbach | Costume Design: Patricia Talacko | Lighting: Hans-Hermann Schulze | Music: Mark Scheibe | Correpetition: Hans-J\u00fcrgen Osmers | Video: Rebecca Riedel<\/p>

with: Malick Bauer, Katja Gaudard, Sebastian Gr\u00fcnewald, Peter Jordan, Amal Keller, Paula Kober, Mathis Reinhardt; Puppeteers: Sebastian Ryser, Lina Mareike Wolfram, Zenghao Yang; Singers: Friederike Harmsen, Rowan Hellier, Narine Yeghiyan; Choir, Mark Scheibe and orchestra<\/p>

Two pieces. In addition, a \"Prussian Opening. The arc that M\u00fcller creates is enormous. The Varus Battle in 9 A.D., the Nibelungs before Stalingrad, Napoleon, Caesar, Frederick II, the deaths of Luxemburg and Liebknecht in 1919, Hitler, Stalin, the founding of the GDR, June 17, 1953, the building of the Wall, old owners after the fall of the Wall. Germania. The birth of a nation from the spirit of war. Germania. A grotesque? A tragedy?<\/em><\/p>

\"\"<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Assistant Stage Design<\/strong> Final Fantasy
based on Oscar Wilde
Volksb\u00fchne Berlin\/ 3. Floor, 2019<\/p>

Concept & Direction: Lucia Bihler | Artistic Advice: Sonja Laaser | Stage Design: Laura Kirst | Costume Design: Leonie Falke | Video: Rosanna Graf | Music: Nicolas Fehr | Lighting: Denise Potratz | Dramaturgy: Hannah Sch\u00fcnemann<\/p>

with: Katja Gaudard, Simon Mantei, Daniel Nerlich, Teresa Schergaut, Maria Walser<\/p>

Lust as a drive, as a myth, a taboo subject, as a prohibition, liberation, sin and privilege, as an instrument of power, as a tool of manipulation, as a construction? Lust, it is a curiosity - also for Oscar Wilde's Salom\u00e9: \"Ah! You did not want me to kiss your mouth, Jochanaan. Well! Now I will kiss it. I will bite into it with my teeth as into a ripe fruit.\" Many years later, somewhere in the world or on a distant star, there is a small civilization that takes on the phenomenon of lust in a peculiarly intense way. In fact, the group has at its disposal, as its most important source, Wilde's treatment of Salom\u00e9: This beautiful, mad figure, with its stalkers, this curious attraction and desire as urgent as it is unfulfilled, inspires them to bring a message to the stage. Just as Salom\u00e9 sheds the worldly layers in her veil dance to reveal the 'real,' so too is this strange group in search of the real: What is the real pleasure?<\/em><\/div><\/div>
\u00a0<\/div><\/div>

\"\"<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Assistant Stage Design<\/strong> The Bauhaus: A Redeeming Requiem
by Schorsch Kamerun
Volksb\u00fchne Berlin, 2019<\/p>

Direction: Schorsch Kamerun | Stage Design: Katja Eichbaum | Costume Design: Gloria Brillowska | \u00a0Music: PC Nackt, Schorsch Kamerun | Lighting: Frank Novak | Dramaturgy: Elodie Evers | Artistic Consultation: John McKiernan | Stage Management: Karina Zotz<\/p>

with: Paul Herwig, Paula Kober, Anne Tismer, Corinna Scheurle, Mia von Matt, Frank Willens, Musiker: Schorsch Kamerun, PC Nackt, Sir Henry, Elena Kakaliagou, Nils Marquardt, Jonas Urbat, Phonoschrank, Fee Aviv Marschall; projekt bauhaus and guests:<\/span> Torsten Blume, Beatriz Colomina, Christian Hiller, Philipp Oswalt, Katja Szymczak, Mark Wigley; P14:<\/span> Mauri Bachnick, Leander D\u00f6rr, Yasmin El Yassini, Ben Engelgeer, Imke Gr\u00fcnewald Francia, Elena Herrmann, Musa Kohlschmidt, Marlene Kommallein, Gesa Kreye, Anna Marie Lutz, Celine Meral, Natascha Merckens, Finn Michelis, Luzie Scheuritzel, Ana\u0457s Urban, Leonie Volke; UdK Berlin:<\/span> Mina B\u00fcker, Ferdinand D\u00f6lberg, Milan D\u00f6lberg, Charlotte Eitelbach, Tania Elstermeyer, Laurent Garnier, Veronika Melanie Haas, Magnus Kr\u00fcger, Hansol Kim, Lorenz Lauten, Merav Leibk\u00fcchler, Marleijn Spekking, Jannik Richard Steinmeyer, Ana Tomic, Thomas Zipp; DIE ETAGE:<\/span> Lauren Fitzgerald, Karlotta Frank, Roc\u00edo Gottschalk del Pozo, Nadine Haas, Milena Nowak, Daniel Sellami, Henrike Swoboda, Evelin Uus, Tim Vandenbroeck;\u00a0 And:<\/span> Kristina Pleinert, Luise Tismer, Hauke Vogt, Genoveva Wieland<\/p>

In an act of self-assertion, Mies van der Rohe, together with its teachers and students, closed the Bauhaus in Berlin on July 20th 1933. This is now over 85 years ago. The greater the distance to the happy, historical times of the Bauhaus, however, the more expectation and longing for its presence and timeliness rise. Is the radiant Bauhaus inventiveness still alive or has it long since mutated into an omnipresent yet zombified museum that's being ridden to death? After taking a critical inventory of the Bauhaus' ideas in its jubilee year, we want to pause for a moment and throw a combative farewell party in the form of a grand concert laden funeral: The fiercest update of the great Bauhaus accepts its temporary suspension in order to protect itself against general ossification.
<\/em><\/p>

\"\"<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Assistant Stage Design <\/strong>The hand is a lonesome hunter
by Katja Brunner
Volksb\u00fchne Berlin\/ 3. Floor, 2019<\/p>

Direction: P\u0131nar Karabulut | Stage Design: Franziska Harm | Costume Design: Johanna Stenzel | Music: Daniel Murena | Lighting: Denise Potratz | Dramaturgy: Degna Martens, Hannah Sch\u00fcnemann<\/p>

with: Elmira Bahrami, Malick Bauer, Paula Kober, Skye MacDonald, Linda Vaher<\/p>

For Saint Juliet on the cross - hallowed be thy name, thy kingdom come not, thy will be done not, not in heaven, not on earth, for the snails, for inequality of pay, for and because of the treadmills of female desire, for the narrative of frustrated lesbians, for fraternities, for women over fifty five (so-called neutrals), for sunbeams on shaved heads, for bloody innards, for feasts, for Hildegard von Bingen, for weather fluctuations, for you, her, it, him, for us. Performers: Many. Many quota women. Fewer to no <\/em>quota men. It is at an eternal blue hour.
<\/em><\/p>

\"\"<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Freelance Assistant Stage Design <\/strong>abgrund
by Maja Zade
Schaub\u00fchne am Lehniner Platz, 2019<\/p>

Direction: Thomas Ostermeier | Stage and Costume Design: Nina Wetzel | Video: S\u00e9bastien Dupouey |\u00a0 Music: Nils Ostendorf | Sound Design: Jochen Jezussek | Dramaturgy: Maja Zade | Lighting Design: Erich Schneider<\/p>

with: Christoph Gawenda, Moritz Gottwald, Jenny K\u00f6nig, Laurenz Laufenberg, Isabelle Redfern, Alina Stiegler<\/p>

Whether water can remember its original state with the help of coloured crystals; whether wallpaper actually holds the walls together; whether it is \u00bbrefugees\u00ab or \u00bbdisplaced persons\u00ab; whether getting married excludes the others; whether dog owners find it easier to get pregnant; whether one person in an open relationship must always suffer and, moreover, whether it\u2019s a faux pas to wear tracksuit bottoms to a party; where to buy spelt and where lavender; whether Sabbath dinner is an experience for atheists; whether the truffle soup tastes good, the wine has a gooseberry finish and the meat is tender; whether the nightmarish, cannibalistic film scene really needs to be retold again already; whether it is still or once more in vogue to use the word \u00bbcool\u00ab: at one of Bettina and Matthias' dinner parties every topic under the sun, important or banal, is up for discussion while their little girl Pia and baby Gertrud sleep as peacefully as angels in the room next door \u2026 Beneath the smooth surface of the oft-repeated phrases and conversational clich\u00e9s of the enlightened, educated middle classes, \u00bbabgrund\u00ab outlines a scenario of the greatest possible tragedy and unleashes horror from the fearful imagination into real life. The response is a state of shock, bottomless small talk, repression and the hope that everything was just a thought experiment.<\/em><\/p>

\"\"<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Music Video<\/strong>\u00a0Graffiti, 2018<\/p>

Cast: Karl-Heinz Nagat | DOP: Hannes Francke | Costume design: Ingrid Buhrmann | Make-up: Antonia Maar | Dramaturgical collaboration: Leonhard L\u00f6ffler-Dauth | Production management: Anna Florin | Music: Rhythm Section South West, Sam Irl | Mix & master: Samuel Irl, IML Headquarter Vienna | Studer tape operator: Daniel Meuzard | Percussion recordings: Feedback Studio, Vienna<\/p>

At the end of the day, the transport companies close the gates to the underground passages. The transit points of the city. <\/em>What happens in these places every night when the city dwellers are asleep? <\/em>An urban fairy tale of body and space. A musical visual statement.<\/em><\/p><\/div><\/div><\/div>

\"\"<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Associate Stage Design<\/strong> Madame Poverty. A set of emotion and sensation <\/span><\/span>
by Marius Sch\u00f6tz <\/span>
Volksb\u00fchne Berlin\/ 3. Floor, 2018<\/p>

Direction: Marius Sch\u00f6tz | Idea, concept, lyrics: Johanna Kobusch | Stage design: Robin Metzer | Costume design: Florian Kiehl <\/span><\/span><\/p>

with: Paula Kober, Carolin Knab, Tiffany K\u00f6berich, Jonathan Kempf, Felix Mayr, Jorres Risse, Jakob Wundrack (Live-music)
<\/span><\/span><\/p>

The first reason why Emma has to die is Gustave Flaubert. It is said that she killed herself because she believed the stories and mistook them for life. And the question is still valid today: what happens when the ideas of life are democratized and everyone wants what only happens to a few? The production uses music and text to search for an experience that blurs the boundaries between life and narrative and sisters us to Emma.<\/span><\/span><\/em><\/p>

\"\"<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Associate Stage Design<\/strong> Romeo and Juliet
by William Shakespeare, German translation by Marius von Mayenburg
Schauspielhaus Bochum, 2017<\/p>

Direction: Marius von Mayenburg | Stage design: St\u00e9phane Laim\u00e9 | Costume design: Miriam Marto | Music: Matthias Gr\u00fcbel | Video: S\u00e9bastien Dupouey | Dramaturgy: Alexander Leiffheidt<\/p>

with: Sarah Grunert, Torsten Flassig, Jakob Benkhofer, Fridolin Sandmeyer, Michael Sch\u00fctz, Matthias Redlhammer, Nils Kreutinger<\/p>

The world is divided: On one side of the wall rule the Capulets, on the other the Montagues. Violence reigns on both sides. Every border crossing, every encounter causes injuries and deaths. Why does Romeo, the son of the house of Montague, fall in love with Juliet, the daughter of Lady Capulet? Is it the danger to life of this love that draws the two to each other? Father Lorenzo performs the secret wedding ceremony. But after only one night, disaster takes its course: Romeo kills Juliet's cousin Tybalt and must flee. Juliet's resolute mother works flat out to marry her daughter to a rival. The only option is escape. Or death. Or both.<\/em><\/p>

\"\"<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Artistic Collaboration Sculpture\u00a0<\/strong>The World at My Back
Based on the novel by Thomas Melle
Akademietheater Vienna, 2017<\/p>

Direction: Jan Bosse | Stage design: St\u00e9phane Laim\u00e9 | Costume design: Kathrin Plath | Music: Arno Kraehahn | Lighting: Peter Bandl | Dramaturgy: Gabriella Bu\u00dfacker<\/p>

with: Joachim Meyerhoff<\/p>

A man loses his mind. The things around him speak to him, the symbols from adverts, news and daily life rise up \u2013 he is the centre of the universe. An attempt to delve into extreme mental states, a struggle for autonomy and sovereignty over one\u2019s own biography.<\/em><\/p>

\"\"<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Associate Stage Design<\/strong> Kaspar H\u00e4user Meer<\/div>
by Felicia Zeller<\/div>
Thalia Theater Hamburg\/ Thalia Gau\u00df, 2016<\/div>
\u00a0<\/div>
Director: Friederike Harmstorf | Stage design: St\u00e9phane Laim\u00e9 | Costume design: Sibylle Wallum | Dramaturgy: Susanne Meister | Music: Konrad Hempel<\/div>
\u00a0<\/div>
with: Gabriela Maria Schmeide,\u00a0Birte Schn\u00f6ink,\u00a0Victoria Trauttmansdorff<\/div>
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Anika, Barbara and Silvia are social workers in the youth welfare office. They work with the kind of children who only come into the public eye once they are dead \u2013 abused and neglected in so-called \u2018difficult social circumstances.\u2019 The daily struggle against powerlessness, excessive workload and capitulation escalates as their colleague, Bj\u00f6rn is signed off for stress and \u2018Bj\u00f6rn-Out\u2019. His many unfinished and poorly documented \u2018cases\u2019 threaten to break the three tireless campaigners.<\/em><\/p>

A brilliant report on our social reality, the unfathomable and absurd overloading cascade of three women who must take the rap for the chaos on the outskirts of our society \u2013 sometimes literally with their own bodies.<\/em><\/p>

\"\"<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Assistant Stage Design<\/strong> The Ten Commandments
Based on the Polish drama television miniseries \"Dekalog\u201c by Krzysztof Kie\u015blowski and Krzysztof Piesiewicz<\/span>
Schauspielhaus Z\u00fcrich\/ Schiffbau, 2015<\/p>

Direction: Karin Henkel | Stage design: St\u00e9phane Laim\u00e9 | Costume design: Klaus Bruns | Video: Hannes Francke | Dramaturgy: Stefanie Carp | Music: Daniel Regenberg | Lighting: Michel\u00a0G\u00fcntert\u00a0<\/span><\/p>

with: Carolin\u00a0Conrad, Dagna\u00a0Litzenberger Vinet, Lena\u00a0Schwarz, Friederike\u00a0Wagner, Rea Claudia\u00a0Kost, Hilke\u00a0Altefrohne, Vreni\u00a0Urech, Christian\u00a0Baumbach, Gottfried\u00a0Breitfuss, Jean\u00a0Chaize, Fritz\u00a0Fenne, Nils\u00a0Kahnwald, Milian\u00a0Zerzawy, Hannes\u00a0Francke (Live-Camera), Marc Hemantha Hufschmid (Drums), Hipp Mathis (Bass), Aurel Kuthy \/ Thierry Voigt\u00a0<\/span><\/p>

Which commandments and prohibitions determine our lives? What values and taboos are our society based on? And what contradictions and moral conflicts do they entangle us in? The auteur filmmaker Krzysztof Kie\u015blowski realized ten films on the ten commandments in his legendary work \"Dekalog\" - sometimes in very direct reference, sometimes associative and free. For her production in the Schiffbauhalle, director Karin Henkel develops from Kie\u015blowski's template a multifaceted theme park around the central questions of guilt and punishment, faith and doubt, love and death, possession and loss, security and shock. The audience encounters the characters and stories on a walk through the inner and outer spaces of an existential topography, which takes on a reality of its own in the spaces of the Schiffbauhalle.<\/em><\/p>

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Assistant to the Stage Designer<\/strong> Danton\u00b4s Death
by Georg B\u00fcchner
Burgtheater Vienna, 2014<\/p>

Direction: Jan Bosse | Stage design: St\u00e9phane Laim\u00e9 | Costume design: Kathrin Plath | Music: Arno Kraehahn | Video: Meika Dresenkamp | Lighting design: Peter Bandl | Dramaturgy: Gabriella Bu\u00dfacker<\/span><\/p>

with: Jasna Fritzi Bauer, Daniel Jesch, Ignaz Kirchner, Peter Knaack, Fabian Kr\u00fcger, Michael Maertens, Joachim Meyerhoff, Hermann Scheidleder, Aenne Schwarz, Adina Vetter, Stefan Wieland<\/p>

Danton's Death is set in one of the darkest times of the French Revolution: the guillotine rules. The ideals of the dawn of a new age threaten to turn into their opposite. Without mercy, political dissidents or \"enemies\" of the Revolution who threaten their own position of power are brought before the tribunal, which knows only two sentences: acquittal or death. In 1835, the young B\u00fcchner - himself living in troubled times - used this historical background to ask existential questions in his drama: Can there be a just political system in which every individual can lead a good, self-determined life? Is man capable of peaceful coexistence? Or does the \"animal\" exist in each of us, ready to kill when it comes to our own advantage?\u00a0<\/em><\/p>

\"\"<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Internship Stage Design<\/strong> The Seagull
by Anton Chekhov, German translation by Andrea Clemen
Akademietheater Wien, 2014<\/p>

Direction Jan Bosse | Stage design: St\u00e9phane Laim\u00e9 | Costume design: Kathrin Plath | Music: Arno P. Kraehahn | Video: Sophie Lux, Anna Bertsch | Lighting design: Felix Dreyer | Photography: Reinhard Werner | Dramaturgy: Gabriella Bu\u00dfacker<\/p>

with: Christiane von Poelnitz, Daniel Str\u00e4\u00dfer, Ignaz Kirchner, Aenne Schwarz, Johann Adam Oest, Barbara Petritsch, Mavie H\u00f6rbiger, Michael Maertens, Martin Reinke, Peter Knaack.<\/p>

Who is the director of one's own life? And what and how do we tell about it on the theater? Chekhov gathers three generations on a country estate by an idyllic lake, where the summer passes seemingly uneventfully. <\/em>
Kostya loves Nina from the neighboring estate. He wants her to perform his new play. She wants to go to the theater, he is looking for new forms. Nina fancies the successful writer Trigorin, the lover of Kostya's mother, the famous actress Arkadina. Her snide remarks make Kostja stop the performance. Deeply offended, he shoots a seagull, which he gives to Nina.<\/em><\/p>

A subject for a short story, as Trigorin thinks in a conversation with Nina, who falls madly in love with him: on the shore of a lake lives a young girl, happy and free as a seagull. Then a man shows up and destroys her, out of boredom. So does the seagull. While the old ponder their lives and art, the young steer disillusioned into a catastrophic future. Life or art? Or love? Or money?<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Ausstattungsmitarbeit Die Zeitmaschinevon Helgard Haug (Rimini Protokoll), mit Musik von Barbara Morgensternnach H. G. WellsStaatstheater Cottbus, 2026 Regie und Text: Helgard Haug (Rimini Protokoll) | Musik: Barbara Morgenstern | B\u00fchne und Video: Marc Jungreithmeier | Kost\u00fcm und Requisiten: Tatjana Kautsch, Dominik Steinmann | Schauspielkapellmeister: Hans Petith | Chorleitung: Ilja Panzer | Dramaturgie: Lena Fritschle | […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","footnotes":""},"class_list":["post-64","page","type-page","status-publish","hentry","entry"],"_links":{"self":[{"href":"https:\/\/juliusflorin.com\/en\/wp-json\/wp\/v2\/pages\/64","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/juliusflorin.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/juliusflorin.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/juliusflorin.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/juliusflorin.com\/en\/wp-json\/wp\/v2\/comments?post=64"}],"version-history":[{"count":10,"href":"https:\/\/juliusflorin.com\/en\/wp-json\/wp\/v2\/pages\/64\/revisions"}],"predecessor-version":[{"id":7913,"href":"https:\/\/juliusflorin.com\/en\/wp-json\/wp\/v2\/pages\/64\/revisions\/7913"}],"wp:attachment":[{"href":"https:\/\/juliusflorin.com\/en\/wp-json\/wp\/v2\/media?parent=64"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}