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Archive for category: Alumni

Alumni interview: Maria Wolgast

Maria Wolgast works as a freelance stage and costume designer and also teaches regularly at various universities, including with us at TU Bühnenbild_Szenischer Raum. From 2008-2010 she studied at the Master program.

Dear Maria, before studying at the Technical University Berlin with us, you studied Art and Drama as well as Scenography in Norway. You worked as a stage designer and assistant at various theaters in Germany (Stadttheater Hildesheim, Parkaue Berlin) and Norway (Nationaltheater Oslo, Oper Kristiansand, Black Box Theater Oslo). What made you decide to study again at the TU Berlin?
For me it was crucial to develop my own approach especially for music theater, without production pressure in the theater. At that time I had one wish: to get out of the daily routine of the theater once again. It already felt quite tense there, everything went very fast and all that happened between Germany and Norway. I actually wanted to spend a lot of time designing and understanding opera. My theater studies were about acting with a focus on contemporary, interdisciplinary, post-dramatic forms. And studying at the Norwegian Academy was great, experimental, very free. But I always felt the need to immerse myself in the complexity of music theater. With this in mind, my focus during the Master was clearly in the field of theater. But also the broader courses in the areas of exhibition design and urban intervention were very inspiring for me. With the Master’s degree I have been able to afford the ‘luxury’ to expand the base for my artistic work – and that certainly shaped me.

When you speak of your artistic approach, how would you characterize your work?
Whether it’s an installation for an exhibition, a musical, a drama, opera, children’s and youth theater or projects in urban space: I am looking for a central image or universe and for a connecting materiality that is as versatile as possible.
I do not think in categories such as built indoor or outdoor spaces,  I rather think I am more abstract, but at the same time also more sensual. Anyways, I am always interested in metamorphosis and the process of material and the resulting space – initiated by the actors.

What memories do you associate with the degree program?
Above all, an impressive variety of courses, topics, fields of work including actual realization projects. The intensive supervision by the teachers and above all the lively exchange with the fellow students. We were already a fairly international group, which has become even more polyglot in the subsequent study generations I think. What I greatly appreciated are these different cultural and professional backgrounds. I like to remember many valuable conversations and the mutual appreciation of our work in the team and the honest interest in each other and the contents. Many friendships from this period last until today. And last but not least, the studios located in Ackerstrasse, where we worked and actually lived. The Master’s program was a very precious, enriching time for me.

What are your fields of work, with whom and where do you work?
Being a teacher myself was important to me even before my studies at TU, which I continue to pursue next to my work at the theater until today and I am very happy to be able to combine both. Since I am teaching myself at Bühnenbild_Szenischer Raum now, the contact remains and I get to see the changes in the degree program, which I like a lot. Apart from that, I am doing quite well in the fields of theater as well as with teaching. I am regularly lecturing at the Osnabrück University of Applied Sciences, at the Theaterpädagogische Akademie Heidelberg, at the Theaterakademie Mannheim and also give workshops for various educational institutions.
After completing my studies, I have worked a lot as an assistant and in artistic collaboration, for example at the Frankfurt Opera, Stuttgart Opera, Stockholm Opera or Oslo Opera. Then I did my own stage designs at the Junges DT / Deutsches Theater, in the Kulturforum, at the Tischlerei / Deutsche Oper, for the summer opera at Schloss Britz, at theaters in Heidelberg, in Hildesheim, Baden-Baden, Potsdam and Münster. Together with Patrick Bannwart I was in Antwerp and Ghent, in Essen, in Basel (for ‘Elektra’) and at the Burgtheater in Vienna (for ‘Käthchen von Heilbronn’) wich were both directed by David Bösch.

What do you like most about your job?
With all the advantages and disadvantages of freelancing: I can not imagine anything else and always appreciate my independence from institutions. Working together at the theater can be great – working with the directing team, with the workshops and all the people from the house, I love this! It can be very inspiring to see ideas grow. But sure, I would admit without hesitation, that it can also be exhausting and disappointing sometimes. Probably anyone who is working in this field has made this experience at least once…

Is there something that you would do differently today?
I really do not think so.

What advice would you give to someone who wants to go to the theater?
Basically, if there is real interest and commitment, then just get started! Unpaid internships and assistants are the reality at institutional theaters and not just there. Don’t be afraid of that fact, but decide for yourself how much and how long you keep going with unpaid internships. It is important to get to know people you want to work with. Which topics, working methods and artistic formats are interesting you the most? Which conditions and projects make it possible to work like you want to work and how and where can they be found or how can they maybe even be self-initiated? That’s quite a lot, but trying out really is the only way to find out.

(c) Images:

Picture 1: Stage / Costumes for “Economic Comedy” by Elfriede Jelinek, Theater Baden-Baden, Director: Katja Fillmann, 2016. Photo: Jochen Klenk
Picture 2: Stage / Costumes for “Economic Comedy” by Elfriede Jelinek, Theater Baden-Baden, Director: Katja Fillmann, 2016. Photo: Jochen Klenk
Picture 3: Costumes for “The special life of Hilletje Jans” by Ad de Bont, real-time theater Münster, Director: David Gruschka, 2016. Photo: Roman Starke
Picture 4: Costumes for “The Special Life of Hilletje Jans” by Ad de Bont, echtzeit-theater Münster, Director: David Gruschka, 2016. Photo: Roman Starke
Picture 5: Stage design with Patrick Bannwart for “Elektra” by Richard Strauss, Oper Antwerpen / Gent, Essen, Basel, Director: David Bösch, 2014. Photo: Annemie Augustijns
Picture 6: Stage design with Patrick Bannwart for “Elektra” by Richard Strauss, Antwerp / Ghent Opera, Essen, Basel, directed by David Bösch, 2014. Photo: Annemie Augus tijns
Picture 7: Stage / Costumes for “Pyramus and Thisbe” by Johann Adolf Hasse, Summer Opera Schloss Britz, Director: Antje Kaiser, 2012. Photo: Oxana Sulzbach
Picture 8: Stage / Costumes for “Pyramus and Thisbe” by Johann Adolf Hasse, Summer Opera Schloss Britz, directed by Antje Kaiser, 2012. Photo: Oxana Sulzbach

Interview: David Roth

David Roth is a video artist, scenographer and architect. After his diploma in architecture he founded prjktr. [projektor_berlin] together with Florian Machner and graduated in 2014 with the Master of Arts in Bühnenbild_Szenischer Raum.

Hi David, with what expectation did you start your studies here in 2012 and did you already have your current job in mind at the beginning?
The human being in spatial situations, that’s what interests me most and that was what brought me from architecture to scenography! And from there it evolved to staging things visually with an emphasis on video animations. I think it’s important to understand that studying is not a vocational education, but rather exploring contents, methods and processes. Not everyone who studies architecture necessarily becomes an architect, but maybe a scenographer. And not everyone who studies scenography necessarily becomes a scenographer, but – let’s say – a video artist.

What shaped you during your studies for your practice?
In classical school education it is slowly established that the learning effect is minimal with teaching approaches based on direct instruction or lecturing, they are simply no longer adequate. So when in your studies, it’s essential to design, to research and to develop as much as possible. I was really influenced by the ability to participate in teaching topics and contents. For example, as an extension of the curriculum we’ve already had in the Master’s programme, we founded the lecture series ‘Intergraph’. Over a period of several semesters, we experimented with different spatial formats, invited new artists, and got to know potential lecturers.

You founded the agency “prjktr.” after graduation. What do you guys do exactly?
Let’s say: we are the directors of rooms. The space is our stage. We unleash its scenic performance with light and projection. Our work is an artistic installation in space. We work with expansive video projections, interactive media and exhibits with video. We realize these visual set-ups for exhibitions, theaters and stages, retail spaces and trade fairs or for all kinds of events.

Could you tell me a bit more – how is your working process and with which partners do you work exactly?
Just a few of our fields of work are for example sketching ideas, doing key visuals, writing concept texts, drafting storyboards, rough animations, editing and postproduction, but also technical planning, programming of media art installations, video mapping, production of mock-ups. All of this also includes project planning, time and cost management, contracts, etc. of course. Almost every project is created in collaboration with musicians or sound artists, filmmakers, graphic designers, programmers, interior designers and generally spoken with a lot of great freelancers.

What do you like most about your job?
That we do everything. We develop from the first idea to the final realization of the installation. Each task is different, but always hyper-disciplinary, neo-creative, multi-visual and super-contemporary. It is always exciting.

What tips would you give to someone who wants to start their own studio?
That is quite easy:

1. Do it!
2. Continue!
3. Continue anyway!
4. Enjoy.

What that could look like, you can see at our website: prjktr.net

Thank you, David!

 

© all images: David Roth

Interview: Raimund Schucht

Raimund Schucht realizes spaces and stage designs for the Berlin-based agency TRIAD and the Movimentos Festwochen Wolfsburg, among others. After completing his apprenticeship as an interior decorator and subsequently studying architecture, he studied at the Master’s program Bühnenbild_Szenischer Raum of the TU Berlin from 2013 to 2015.

Raimund, you have studied architecture before, did you already have your current job in mind at the beginning of your studies?
I realized in my architectural studies already that classical architecture will not be my path. Therefore, I was looking for an alternative that combines my experiences from apprenticeship as an interior decorator and my classical architecture studies. I had a strong desire to combine media and architecture – so I worked in agencies that specialized in virtual and interactive spaces when I was a student. After a few years of agency life, I felt the need to fill spaces with content and life, to bring spaces to life, to charge them with spirit and emotions. This is how scenography came into play.

With what expectation did you start the studies here?
Actually, I started the Master’s program without much expectation, and one should not misunderstand that! Tt was a privilege for me to study again. Therefore, my goal was to just get as many impulses as possible. Eventually, the artistic handling of space came more and more into focus. At the end of my studies, I had the feeling that all my previous studies now come together in one profession. For the first time my many professional detours finally made sense! That’s a very good feeling which I continue having until today.

What were your priorities, were you interested stage design or in the scenic space?
At the beginning my focus was with ​​scenic space, whereby my interest was still strongly driven towards digital interactions. In the course of my Master’s studies, I developed a curiosity about how content and interaction can be blended together. The approaches could also be analog. It was important for me to question old ways of thinking and to allow new ideas. My goal was to let go of the rather structural planning I learned when working in architecture, to break the boundaries of the strongly digital-driven architectural processes. I rather wanted to incorporate artistic aspects, such as painting or model making into my creative work. I got new input from fellow students or lecturers, all of whom came from a wide variety of fields and also from the field of stage design that I actually had previously ignored. Especially the confrontation with the stages of Hans Dieter Schaal and the Bauhaus stages of Oskar Schlemmer led me to new trains of thought. It was especially their transformation of architectural means in stage sets or costume pictures and scenographies that I found inspiring. These strong inspirations from the field of stage design are still incorporated into my design processes – be it for an exhibition, a trade fair stand or a retail architecture.

What was so special about studying at the TU Berlin?
For me, it were the people behind the Master’s program who were truly special. It really was the diversity of the cultural and professional backgrounds of the classmates and the lecturers that enabled a lively and inspiring student life. The practical training helped me to establish international contacts. The artistic approach and the analogue way of working also inspired me to new ideas.

And have you been able to get in contact with clients during the practice-oriented study at the TU?
Early in my studies, I used existing contacts with cooperation partners or made new ones. My entry into the agency life also began during my studies at the TU. In the third semester, thanks to the help of two of my lecturers, I was able to establish contact with TRIAD, a Berlin-based agency for communication in space. I completed my obligatory internship there. Every since I have been working as a freelancer for TRIAD. The first steps in the field of stage design were also made possible by lecturers at TU Bühnenbild_Szenischer Raum. I was able to realize a set design for the award ceremony of the KAIROS Prize for the Töpferstiftungat the Staatstheater Hamburg with two fellow students. The contact with the Movimentos Academy was also created through the program. Since then we have realized several stage sets as an alumni team for the Movimentos Festival at the Theater Wolfsburg.

What do you like most about your job?
I especially like the versatility of this profession. In order to be able to experience all aspects of it, I have decided to become self-employed as a freelancer. Today I do not only work in creative agencies for communication in the room but also for cultural institutions. I really work in two different worlds! The mixture of stage and scenography helps me to always have a different view on the current task. Compared to classical architecture, working on scenographic projects is much faster. I like that very much, because you can always deal with new content and exciting topics. And somehow I like being on the road, too. The restlessness inspires me.

Is there something you would do differently today?
Today I would use the international opportunities and network of international students offered by the degree program even more. In addition to the regular curriculum with lectures and practical projects, the programme offers many additional opportunities for further education. For example, there is the Interdisciplinary Space Laboratory, founded by Prof. Albert Lang, which enables lots of opportunities for developing projects that go beyond the regular timetable. When I was a student, I did not realize the value of such offers. Today, I would use such opportunities much more and integrate them more into my studies. But all in all, I am very satisfied. Studying again in a Master’s degree was a great luxury and a tremendous asset.

What tips would you give to someone who wants to succeed in an agency?
The term scenography offers a lot of room for interpretation. To assert oneself in the agency world, it helps to position oneself clearly with his or her own profile: Where are your own strengths? What educational background do I include? As an aspiring scenographer you can engage in a variety of activities, for example in the field of conception, narration in space or as a designer of staged spaces.
The course offers many starting points that have to be reflected and researched first. I can understand freshly graduates when they start into professional life a bit unsettled. In my opinion, it helps to remain persistent and to always believe in one’s own strengths – every dream and every strength finds its place!
It has helped me to realize that my entire professional career with the Master’s degree finally results in a symbiosis. In the end, I realized that somehow everything belongs together and has its justification. I do not want to decide whether I want to work as a scenographer in an agency or as a stage designer at the theater. I can do both and both helps me for the other work. I take this versatility as a great gift and it helps me to take new steps. It sounds a bit dreamy, but nothing is wrong – it only needs the right circumstances and goals – and those you have to develop for yourself. Also, sometimes it helps to not listen to social conventions or lecturers ;-) and to go a completely different way instead.

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© all pictures: Raimund Schucht and Ulf Büschleb for Triad

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