Alexander Kerlin

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Alexander Kerlin (* 1980 in Gifhorn ) is a German dramaturge . From 2010 to 2019 he was dramaturge at Schauspiel Dortmund . In the annual critics survey conducted by the specialist magazine Theater heute , the house was awarded second place as Theater of the Year in the entire German-speaking region three times in a row from 2015. In 2014 Kerlin received the NRW Prize for Young Artists for his artistic merits .

Alexander Kerlin is co-founder of the Dortmund Academy for Theater and Digitality , which started its work in 2019. He has been a permanent member of the ensemble at the Burgtheater in Vienna as a dramaturge since the 2019/20 season .

Life

Kerlin was born in Gifhorn in 1980 and grew up in Braunschweig. After his community service in Jerusalem, he then studied theater studies, economics and psychology in Erlangen and Bochum. In 2009 he founded the theater group kainkollektiv with fellow students from Bochum , with whom he realized several theater works and projects, especially in the independent theater scene in North Rhine-Westphalia. In 2013 he separated from the group again.

Kerlin has been working as a dramaturge at Schauspiel Dortmund since the 2010/2011 season, often together with the director and artistic director Kay Voges . There he founded the Dortmund speaking choir together with Christoph Jöde in 2011 . Together with Voges, he also wrote DOGMA 20_13 , which, as the "Dortmund Manifesto", calls for closer links between the worlds of theater and film. Kerlin also wrote the piece "The Golden Age - 100 Ways to Steal the Show from Fate" (2013) together with Voges, which was invited to the 2014 Heidelberg Stückemarkt . For the production "Elektra", which premiered in 2015 under the direction of Paolo Magelli , he wrote his own, new version of the Elektra material based on Euripides .

In November 2014 Kerlin received the North Rhine-Westphalia State Minister Ute Schäfer 's sponsorship award for young artists . In their laudation, the jury wrote that "his work at the interface between theater and visual arts, computer worlds, film - and between art and reality in general - will produce many more stimulating and exciting results". Kerlin curates series, takes on impulses from urban society and in close collaboration with Kay Voges design new forms of theater.

The play Die Borderline Prozession (director: Kay Voges ), which he wrote together with Voges and Dirk Baumann, was invited to the Berlin Theatertreffen in 2017 . The jury's laudation said: "The borderline procession is a reflection on the terror of the simultaneous events that we addictively and constantly feed ourselves through media. A meditation on general world confusion." With the play Das Internat (director: Ersan Mondtag ), for which he wrote the text together with Matthias Seier, he was invited to the Berlin Theatertreffen again in 2019. Also in 2019 he wrote the piece Die Parallelwelt together with Eva-Verena Müller and Kay Voges, which was performed simultaneously at the Berliner Ensemble and the Schauspiel Dortmund and for the first time connected two stages via fiber optics.

Alexander Kerlin lives in Vienna with his wife and three daughters.

Positions

Kerlin works on classic materials as well as on experimental piece developments, unusual literary templates and unusual formats in the border area to performance, the fine arts and film. For example, the piece " The Golden Age " took up the aesthetics of mash-up and sampling , a method that was also used in the Burgtheater's premiere of Dies Irae - An End Times Opera in December 2019. In his nachtkritik.de essay "Der Bauschutt der Moderne", Kerlin writes:

“Theater makers have to be able to cleverly place“ foreign texts ”in their text landscapes, rich in contrasts, and make use of mash-up, looping and remixing techniques from music and visual arts. You have to be able to tell from back to front as well as from front to back, or from the middle. You have to risk lengths and excessive repetitions. You have to think about the use of technology as equal to the text. "

- Alexander Kerlin : The rubble of modernity

The canonical classics of the educated bourgeoisie can no longer be represented directly in the digital age. You have to free yourself from the interpretative sovereignty of the educated citizens and Germanists, publishers and dramaturges. Instead of freezing in submissive awe of the overall work, contemporary theater makers would rather have to grasp the central ideas from the play templates instead of bringing them onto the stage with advanced updates:

"Accessing the" classics "across the break of epochs will tend to be a process of quoting rather than of complete appropriation. [...] We will quote Beckett's brilliant thoughts, within the framework and under the provisions of the right to quote, in our collages, as miniatures. They belong to all of us. Taking it and re-locating it is part of the coming artistic freedom that has long since dawned. "

- Alexander Kerlin : The rubble of modernity

In 2017 he got involved with an essay on the value of artistic freedom in the debate about the cultural-political positions of right-wing populist thinkers such as AfD politician Marc Jongen :

"When asked where the right-wing artists are actually, Jongen replies calmly:" As soon as the first structures appear on the surface, many actors first dare to come out or to admit to a different way of thinking . And then it can also lead to tipping processes. " If you combine that with Björn Höcke's demand for a "180 degree change in the politics of memory," Jongens' romantic emotion is not more sympathetic. "

- Alexander Kerlin : Reserves of Independence

Web links

Individual evidence

  1. ↑ Conference for Theater and Digitality. Retrieved on February 7, 2019 (German).
  2. ↑ Kerlin's biography at the Dortmund Theater
  3. ↑ http://blog.schauspieldortmund.de/neues/die-auffrage-weiterzumachen/ The request to continue in the blog of the Schauspiel Dortmund
  4. ↑ BORDERLINE PROCESSION GOES THEATER MEETING! In: Schauspiel Dortmund . ( schauspieldortmund.de [accessed on March 6, 2017]).
  5. ↑ Dorothea Marcus, Esther Slevogt: Life in the quantum theory . Nachtkritik.de. Retrieved December 3, 2019.
  6. ↑ The rubble of modernity. Nachtkritik.de. October 16, 2014, accessed December 18, 2014 .
  7. ↑ The rubble of modernity. Nachtkritik.de. October 16, 2014, accessed December 18, 2014 .
  8. ↑ http://nachtkritik.de/index.php?option=com_content&view=article&id=13676:kunstfreiheit-der-dramaturg-alexander-kerlin&catid=101:debatte&Itemid=84
personal data
SURNAME Kerlin, Alexander
BRIEF DESCRIPTION German dramaturge and author
DATE OF BIRTH 1980
PLACE OF BIRTH Gifhorn