en / de / fr

claudia bosse / theatercombinat

2006 - 2009 tragödienproduzenten (producing tragedy) aeschylos/shakespeare/racine/jelinek -
a theatrical series, vienna, geneva, brunswick, düsseldorf (a, ch, d)

producing tragedy dossier

fanzine 4 théâtre du grütli, S. 24 - 29, michèle pralong

die perser/les perses
turn terror into sport

tragödienproduzenten 2009
perser review
coriolan review
phèdre review
bambiland´s day
2481 desaster zone


tragödienproduzenten - historical models of theatre and text-architectures as material for a research of the present. the chosen texts are selected as a cross section through history as well as the history of theatre. they draw their historical and mythological backgrounds from antiquity and treat constellations of radical change.

tragödienproduzenten - documents of different political systems, functions of theatre, aesthetical concepts and ways of representation. theatre as archive storing historical models of society’s ways of communication and representation.

tragödienproduzenten - a project directed by claudia bosse, a theatrical series including research at different places cutting through «the persians» by aeschylus, «coriolanus» by shakespeare, «phèdre» by racine/seneca and «bambiland» by elfriede jelinek. in cooperation with gerald singer and christine standfest, as well as alexander schellow, aurelia burckhardt, doris uhlich and international guests.    

click to enlarge

die perser, brunswick, photo: christian bort

les perses, geneva, photo: regis golay

  the persians (brunswick 2008)
concept/direction/score: claudia bosse, translation: peter witzmann/heiner müller, atossa: doris uhlich, messenger: jörg petzold, dareios' ghost: christine standfest, xerxes: marion bordat, chorus leaders: roland bedrich, anne cathrin buhtz, inga kolbeinsson, hanna legatis, christoph linder, oliver losehand, christiane ostermayer, ilona christina schulz, katja thiele, cornelia windmüller, direction assistance: andreas gölles, coordination/research/ dramaturgical collaboration: anselm lenz, anke dyes, production: caroline farke, chorus of 500: citizens of braunschweig, coproduction staatstheater braunschweig, festival theaterformen, theatercombinat

the persians (vienna 2006)
oncept/direction/score: claudia bosse, messenger: gerald singer, atossa/xerxes: doris uhlich, dareios' ghost: christine standfest, small chorus: aurelia burckhardt, gerald singer, christine standfest, doris uhlich, chorus of 12: beatrix brunner, aurelia burckhardt, gerlinde egger, brigitte futscher, ulrike johannsen, dora müller, heidemarie pichler, ingrid racz, ana szilagyi, ilse urbanek, lena wicke, buildings: karoline streeruwitz/sammerstreeruwitz, christian teckert/as-if, production theatercombinat

les perses (geneva 2006)
concept/direction/score: claudia bosse, messenger: barbara baker, atossa: doris uhlich, dareios' ghost: christine standfest, xerxes: gerald singer, chorus/chorus leaders of the 10 choruses: guillaume béguin, léonard bertholet, vincent coppey, elisa curchod (chine), jean-louis johannides, marie-eve mathey-doret, gérard moll, jacqueline riccardi, anne-frédérique rochat, delphine rosay, chorus of 500 /grü500: citizens of geneva, direction assistance: andreas gölles, aurélie matthey, imanol atorrasagasti, consultancy: sophie klimis, coproduction théâtre du grütli, association genèveberlin, theatercombinat

    «tragödienproduzenten» is not about reconstructing authentic historical performance practices; it is understood as theatrical study through the texts and their architectural dispositives. the interest is focused on the research of spatial, historical, demographic and linguistic aspects with and within the plays to create, over a four years time period, perspectives for contemporary theatre reflecting the analysed constellations of historical models.

the present, which tends to be suspiciously linked to de-historicising concepts of theatre and performance, is investigated by means of texts and theatre-concepts from the last 2.500 years: theatre as archive storing historical models of society’s ways of communication and representation.

bambiland08 (vienna 2008)
concept/artistic direction: claudia bosse, concept collaboration: alexander schellow, gerald singer, christine standfest, speaker: anne bennent, performance/lab: aurelia burckhardt, caroline farke, oliver losehand, alexander schellow, dorothea schürch, gerald singer, christine standfest, loudspeaker development/sounddesign: wolfgang musil, film: alexander schellow, object realisation/technical direction: simon häfele, technical assistance: liesl raff, production: astrid mayer, production assistance: tatiana petkova, direction assistance: alexander ratter, pr: christine standfest, press: skyunlimited, guests interventions: monika bischof, anne decker, linde dröscher, ingeborg fellhofer, tobias gerber, daniela graf-kunauer, olivia helvadjian, veronika kritzer, christl kucera, günther maier, andrea mayer, saskia pauls, susanna peterka, maria pichler, ingri racz, thomas scheiber, lucia steindl, irene stockenreitner, marie tappero, ilse urbanek, michaela wareka, stage rights "bambiland" by rowohlt theaterverlag, reinbek bei hamburg, production theatercombinat
bambiland, photo: lorant racz

textual architecture   the actual language is a memory of historical experience. in language, physical practices, body images and ways of acting and representation are implicit and to be explored. the habitus of play and representation is destined by textual structure, phonetics, punctuation, metrics, the specific «breath» of the texts, their «tune», imagery, constructions of time, their poetics of images, metaphors, the relation of language and emotion and its representation as plot, narrative, description or argumentation.

in which way affect and construct the different languages actor, speech, body and performance situation – what different concepts of theatre are inscribed in these texts, which parameters of perception, which history, ways of representation, concepts of reality? what is the relation towards the spectator? and further – which understanding of politics and society are represented in these different linguistic materials? how can we use the respective epoch’s cultural techniques as material for acting and performance constellations?

phèdre, photo: regis golay
  phèdre (geneva 2008)
concept/space/direction: claudia bosse, phèdre: frédéric leidgens, hippolyte: serge martin, thésée: armand deladoëy, oenone/aricie: véronique alain, théramène/panope/ismène/quotes of seneca: marie-eve mathey doret, quotes of seneca/théramène: lou castel, production/assistance: gaël grivet, dramaturgical research/direction assistance: andreas gölles, lights: jean-michel broillet, martial arts training: daniel chardonnens, dance baroque: dora kiss, boxtraining: virginie van de putte, tango: mariella casabonne-bach, yoga: sandra piretti, coproduction grü/théâtre du grütli, association genèveberlin, theatercombinat

theatre as historical and theatrical archive   how can we use theatre as archive of society to gain material for the present? the texts are documents of different political systems, functions of theatre, aesthetical forms and ways of representation. what happens, when we transfer constellations and determinations of the theatrical production of different times - and their specific situations, communication and language - into the present, to develop from there experimental arrangements? which political, economic, spatial and public interconnections would this create for contemporary constellations of theatrical production – models between the public, politics and art?

coriolanus (vienna 2007)
concept/direction: claudia bosse, coriolanus/citizen/volumnia: doris uhlich, aufidius/titus lartius/senator/citizen/volumnia: marie-eve mathey-doret, menenius/citizen/volumnia: aurelia burckhardt, cominius/officer/citizen/volumnia: gerald singer, brutus/ädil/officer/citizen/volumnia: christine standfest, sicinius/herold/citizen/volumnia: jennifer bonn, dramaturgy: christine standfest, direction assistance: konstantin küspert, production/public relations: lena wicke, space intervention: karoline streeruwitz, christian teckert, consultancy space: jonni winter, translation: bosse/standfest, coordination: jeanette picker, citizens: guido aengenheyster, monika bischof, anita broser, iwona brugger, eva cermak, michael de werd, anne decker, linde dröscher, sigrid eder, michaela fink, nada frauenhofer, renate gärtner-horvath, wiebke hebestedt, maria helm, julia jovanovic, roswitha kauer, brigitte kiss, barbara korvas, christl kucera, andrea mayer, astrid mayer, rachel moser, isolde müller, ingrid müller, susa muzler, angela nagy, maria ohrfandl, manfred panis, mariella pauls, saskia pauls, ingrid pazdernik, maria theresia pichler, doris prammer, ingrid racz, ewa-maria rogal, thomas scheiber, kristina singer, luzia steindl, marie tappero, michaela wareka, carina zabini, production theatercombinat

turn terror into sport (vienna 2007)
horeography/concept: claudia bosse, taptrainings: michael fischer, sabine hasicka, albert kessler, daniela kubik, nele moser, martina sagmeister, nicole rutrecht, verena schönberger, with: jennifer bonn, aurelia burckhardt, marie-eve mathey-doret, gerald singer, christine standfest, doris uhlich, dramaturgy: christine standfest, direction assistance konstantin küspert, production/pr: lena wicke, coordination: jeanette picker, coproduction tanzquartier wien und theatercombinat

coriolanus, photo: konstantin küspert

turn terror into sport, photo: konstantin küspert  

spatial models   research of spatial models of the past and their transformation or translation into the present shall motivate the decisions about actual sites for the performances. the idea is to create a correlation between the texts and their realisations as dialogical effect, by transforming the historical space-designs of each time into experimental arrangements in contemporary public space.

«2481 desaster zone», october 2009, tragödienproduzenten reviews march - october 2009, vienna. «bambiland08» fall 2008, vienna, «die perser» juni 2008, ferstival theaterformen braunschweig, «phedre» april/may 2008, maison de faubourg, geneva. «coriolan» october 2007, «turn terror into sport» september 2007, «die perser» december 2006, all in vienna, «les perses» november 2006, théâtre du grütli, geneva.

tragödienproduzenten (2006 - 2009) coproduced by GRÜ/théâtre du grütli geneva, festival theaterformen and staatstheater braunschweig, FFT forum freies theater düsseldorf, tanzquartier wien and wien modern. supported by wien kultur and in parts by the districts of vienna leopoldstadt, landstraße, wieden, margareten, neubau, alsergrund, meidling and donaustadt, by wohnbauvereinigung für private angestellte, österreichisches siedlungswerk, ma 33 stadt wien, wiener linien, erste bank, pro helvetia, city of geneva (département de l’instruction publique), loterie romande, stiftung leenaards, stiftung ernst göhner, österreichisches kulturforum, niedersächsisches ministerium für wissenschaft und kultur, cities braunschweig and hannover, niedersächsische lottostiftung, stiftung braunschweigischer kulturbesitz, kunststiftung NRW, and in 2009 by the district favoriten and by loft city.

www.theatercombinat.com theatrale produktion und rezeption