The White Horse Inn (2013)

Puppet design and puppet building, in collaboration with Manuel Kolip

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In the operetta “The White Horse Inn” life-sized moving mouth puppets with arm rods represent the six guests of the inn. In this regard “to attend on the guests” becomes a slightly ambiguous meaning. Thus director Ingmar Otto satirizes the secret agreement between staff and tourists of the inn to sell a mock idyll on the one side, and to squander their money to incorporate this fake idyll on the other side.
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Fan palm Acapulco (2012)

Stopmotion animation, 37min. In colaboration with Charlotte Höchsmann and Manuel Kolip.

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Middle-aged Monika solitarily lives in a neat suburban apartment, strictly following her set of self made rules. When she orders a palm tree to give her stay-cation a tropical flair, she accidentally locks in the delivery man. Bruno finds himself stuck in a place much to his taste – almost. He stays unnoticed and starts to make himself even more at home – very much to the confusion of rule-driven Monika.

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Hansel and Gretel (2011) based on the opera by Engelbert Humperdinck

Scenic and costume design. In collaboration with Charlotte Höchsmann

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In my work as a scenic designer I prefer to use all elements as multi perspective objects that can develop a life of their own. The stage design for “Hansel and Gretel” was a wagon with three different outside appearances and a couple of storage racks filled with boxes that contain the parts of the soon-to-be wood. A change of scene happens by turning the wagon on the open stage, revealing new surfaces with a different content: A fireplace at home, a fairground organ and a corrugated-iron shack in the woods. The changing scenery consisting of the same objects refers to a common interpretation of the fairy tale as a near death experience of the starving children: In the end of the opera Hansel and Gretel have never left the fireplace at home from the initial scene, and yet have traveled far in their imagination.

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“What is this maid with whom thou wast at play? Your eld’st acquaintance cannot be three hours” (2009)

kinetic sculpture. A part of the theatrical installation “tempest machinery” at the contemporary scenography festival “Crash!Boom!Bau!”, Theaterhaus Jena.

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The kinetic sculpture is part of the multiperspective szenographical staging of “Sturmapparate” (Tempest machinery) – referring to Shakespears last play “The Tempest” – under direction of Penelope Wehrli. At the Theaterhaus Jena a theater stage is turned into a museum space: The participating artists arrange their works in time and space. The audience is led throuh the stage area and understage in a choreography directed and curated by the group of artists.

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