Eberhard Keienburg

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Eberhard Keienburg (born June 3, 1936 in Leipzig ) is a German stage and costume designer . He was the founding chairman of the German Association of Scenographers / Association of Scenographers and lives in Bernau near Berlin .

Live and act

Eberhard Keienburg spent his childhood in his hometown Leipzig. From 1954 to 1961 he completed a degree in stage design at the Dresden University of Fine Arts . His professors were Erich Fraaß and Hans Reichard. He spent the year of his internship in the painting room of the state theater during the day and as a lighting assistant in the large house there in the evening. The first task assigned to him was in October 1958, the stage design for the opera buffa Don Pasquale ( Gaetano Donizetti ) at the Bautzen City Theater. His theoretical state examination thesis dealt with contemporary Mozart productions, while his practical task consisted in the "stage design and costume solution" for a Bertolt Brecht play and a Mozart opera.

His first engagement as a set designer, which lasted from 1961 to 1964, took him to the Hans Otto Theater in Potsdam. This was followed by three years as a stage and costume designer at the Leipzig City Theater . Here he also worked for the Young World Theater, which is aimed at children and young people . In 1967 he returned to the Hans Otto Theater in the extended function of head of equipment. Helene Weigel then signed him to the Berliner Ensemble , where he was only involved in three productions. In 1980 he then appeared again for the Simplex German production at the “BE”. The longest length of stay was at his last job, the Deutsches Theater in Berlin. From 1974 to 2001 he worked there as the 1st stage designer / head of equipment.

In the course of his career he was called to many theaters to give a taste of his skills. This was not always undisputed. For the performance of the Federico Garcia Lorca play Bernarda Albas Haus in 1980 at the Deutsches Theater, for example, he built a wooden platform modeled on the arena stage in the middle of the auditorium, with a walkway in the rows of seats and a staircase up to the first tier . In addition, a grandstand on the actual theater stage for additional spectators. What was "undoubtedly interesting" and "always manageable" for some critics was found to be a hindrance and not appropriate to the original.

Around 25 directorial works took place within the framework of the Evangelical Church in various East German cities before and after the fall of the Wall . Keienburg was also a lecturer at the German State Opera Unter den Linden , at the television of the GDR , at the Art Academy Berlin-Weißensee , the University of Theater and Music Leipzig , also taught theater technology students in scenography at the Beuth University of Technology Berlin in Wedding and gave Workshops among others in Ulan Bator , Lima and Montevideo .

When the scenography section of the Association of Visual Artists of the GDR no longer existed in 1990 , Keienburg organized the re-establishment of his professional association and was its chairman until 1992. He had to cope with a brisk influx of professional colleagues from East and West and was therefore dubbed “artist and manager” by the Berliner Zeitung . The name of the association is today after a renaming "Bund der scenographers".

After his retirement in 2001, he took over from 2003 to 2004 as the deputy head of equipment at the Altenburg / Gera theater . Otherwise, Eberhard Keienburg is still sporadically active in his profession, for example in 2016 at the German-Sorbian People's Theater in Bautzen , which performed the puppet opera Philemon and Baucis with his support.

Quotes

“Repeating the real thing on stage is a good thing, but inventing is better, much better. Then I can become the god of a dreamed-of world [...]. "

- Eberhard Keienburg : Exhibition folder , 2001

“When everything, built, painted, sewn, and made up comes on stage for the first time, my conscience checks: Can and may I tell stories beyond words and music? What do I have to leave to the minds of the audience? "

- Eberhard Keienburg : Exhibition folder , 2007

Equipment (permanent positions)

Hans Otto Theater Potsdam (selection)

City Theater Leipzig (selection)

Berlin Ensemble

Deutsches Theater Berlin (selection)

Guest facilities

Keienburg has also worked as a guest outfitter at many different theaters in the following cities: Altenburg, Antwerp, Bautzen, Berlin, Braunschweig, Chemnitz, Dresden, Erfurt, Esslingen, Frankfurt / Oder, Freiberg, Gera, Greifswald, Hamburg, Heilbronn, Leipzig, Lima, Magdeburg, Schwedt, Schwerin, Sofia, Wiesbaden.

Exhibitions

  • 2001: time. Room. Game. Eberhard Keienburg: 40 years of work for the stage. Foyers of the Kammerspiele, Deutsches Theater and Kammerspiele, Berlin.
  • 2005: space. Human. Sense. Eberhard Keienburg: work for theater. University of Applied Sciences Zittau / Görlitz (FH), Zittau.
  • 2007: theater. Worlds. Eberhard Keienburg. Stage sets, costumes. GAB - Health Center at the Old Train Station, Braunschweig.
  • 2007: theater, theater! Eberhard Keienburg: sets and costumes. Association of Art at Court Dresden eV, Ständehaus , Dresden.
  • In addition to others in Germany, exhibition locations abroad: Prague, Budapest, Bucharest, Moscow, Paris, Santiago de Chile, Sydney etc. a.

Individual evidence

  1. ↑ a b c d e f g h i j k Exhibition folder: Theater, Theater! Eberhard Keienburg: sets and costumes. Association of Art at Court Dresden eV, Ständehaus, Dresden, 2007.
  2. ↑ a b c Eberhard Keienburg. In: kulturportal.de. Kulturserver.de foundation, accessed on May 11, 2017 .
  3. ↑ a b c d e Exhibition folder: Time. Room. Game. Eberhard Keienburg: 40 years of work for the stage. Foyers of the Kammerspiele, Deutsches Theater and Kammerspiele, Berlin, 2001.
  4. ↑ a b Exhibition folder: Theater. Worlds. Eberhard Keienburg. Stage sets, costumes. GAB - Health Center at the Old Train Station, Braunschweig, 2007.
  5. ↑ Dieter Krebs: The oppressive sultriness before the thunderstorm. “Bernarda Albas Haus” by Federico Garcia Lorca in the Deutsches Theater . In: Berliner Zeitung . October 31, 1980.
  6. ↑ "Bernarda Alba's House" . In: The morning . Berlin October 21, 1980, news from the Deutsches Theater Berlin.
  7. ^ Henryk Goldberg : Long outcry, but too few nuances. Lorca's “Bernarda Alba's House” at the Deutsches Theater . In: New Germany . Berlin 5th November 1980.
  8. ↑ Helmut Ullrich: The gloomy world of Bernarda Alba. Lorca premiere in the Deutsches Theater . In: New Time . Berlin October 31, 1980.
  9. ↑ Loss of individuality and poetry. For the premiere of a Lorca play in the Deutsches Theater . In: Thüringer Tageblatt . Weimar November 5th 1980.
  10. ^ Georg Röblitz: Profit and Lack. To Piet Drescher's Lorca production in Berlin . In: The Union . Dresden December 3rd 1980.
  11. ^ Günther Bellmann: Tragedy of women on bare wood. "Bernarda Albas Haus" in the Deutsches Theater . In: BZ in the evening . Berlin October 30, 1980.
  12. ↑ Wolfgang Gersch : There is a lack of feeling for house and piece. "Bernarda Albas Haus" by Lorca in the Deutsches Theater Berlin . In: grandstand . Berlin November 10, 1980, theater.
  13. ↑ Ingeborg Pietzsch: Free space for Lorca? "Bernarda Albas Haus" by Lorca at the Deutsches Theater Berlin . In: Theater of Time . No. 1/1981 , January 1981, pp. 32 f .
  14. ↑ a b Detlef Friedrich: Do away with and create anew. Eberhard Keienburg, chief set designer at DT . In: Berliner Zeitung . January 14, 1992, Berlin heads.
  15. ↑ a b story. In: szenografen-bund.de. The Board of Directors of the Federation of Scenographers, p. 2 , accessed on May 11, 2017 .
  16. ↑ Philemon and Baucis. Marionette opera by Joseph Haydn. A coproduction with the Landesbühnen Sachsen. In: theater-bautzen.de. May 2, 2017. Retrieved May 11, 2017 .

literature

  • Idea, stage, world. Eberhard Keienburg: 50 years of theater work 1958 - 2009. Meiningen 2009.

Web links

personal data
SURNAME Keienburg, Eberhard
BRIEF DESCRIPTION German stage and costume designer
DATE OF BIRTH June 3, 1936
PLACE OF BIRTH Leipzig , Germany