Gisela Köster

from Wikipedia, the free encyclopedia

Gisela Köster (born March 7, 1944 in Scheeßel ; † September 3, 1989 in Hamburg ) was a German stage and costume designer .

After training as a dental technician in Düsseldorf , she studied painting in Stuttgart with Alfred Hrdlicka . She had her first contact with the theater as assistant to the set designer Jan Peter Tripp at the Stuttgart State Theater . In 1980 she began working as a costume assistant at the Cologne theater for the German premiere of Heiner Müller's Mauser . From the 1980/81 season she was a permanent costume designer at the Deutsches Schauspielhaus in Hamburg.

She died after a short, serious illness in Hamburg and was buried in the Ohlsdorf cemetery .

Stage and costume design for theater productions

  • December 1980: The accidental death of Christian K. , review of the Hamburg Police Act (costumes), director: Ulrich Waller , Deutsches Schauspielhaus in Hamburg
  • October 1981: Medea after Euripides (costumes), director: Barbara Bilabel, German theater in the Kampnagel factory in Hamburg
  • March 1982: The Shadow of a Rebel by Seán O'Casey (costumes), director: Ulrich Waller, Deutsches Schauspielhaus in Hamburg
  • November 1982: Gyges and his Ring by Friedrich Hebbel (costumes), director: Ernst Wendt , Deutsches Schauspielhaus in Hamburg
  • January 1983: Kalldewey, farce by Botho Strauss (costumes), director: Niels-Peter Rudolph , Deutsches Schauspielhaus in Hamburg
  • June 1983: Orfeus by Peter Greiner (stage and costumes), director: Ulrich Waller, Landestheater Tübingen
  • January 1984: NDR series High Time (costumes and set design for 19 sketches), director: Ulrich Waller
  • April 1984: Jacket and pants by Manfred Karge (stage and costumes), director: Ulrich Waller, Landestheater Tübingen
  • May 1985: Kabale und Liebe by Friedrich Schiller , (costumes), director: Peter Striebeck , Thalia Theater , Hamburg
  • December 1985: Die Bauern die by Franz Xaver Kroetz (costumes), director: Wilfried Minks , world premiere at the Deutsches Schauspielhaus in Hamburg
  • December 1985: The races by Ferdinand Bruckner (costumes), director: Lore Stefanek , Städtischen Bühnen Freiburg
  • February 1986: Mother Courage by Bertolt Brecht (costumes), director: Wilfried Minks, Deutsches Schauspielhaus in Hamburg
  • March 1986: Penelope by James Joyce (stage and costumes), director: Ulrich Waller, Kampnagel-Fabrik in Hamburg; invited to festivals in Switzerland, Austria, Greece
  • May 1986: Baal by Bertolt Brecht (stage and costumes), director: Ulrich Waller, Städtische Bühnen Freiburg
  • October 86: Nur Du by Ulrich Waller (costumes), director: Elke Lang , world premiere at Theater am Turm in Frankfurt
  • May 1987: Mein Kampf by George Tabori (costumes), director: George Tabori, world premiere at the Akademietheater in Vienna
  • September 1987: MacBeth by William Shakespeare (costumes), director: Wilfried Minks, music: Laibach , Deutsches Schauspielhaus in Hamburg
  • Kiss of the Spider Woman by Manuel Puig (costumes), director: Ulrich Waller, Theater am Turm, Frankfurt
  • January 1988: Love and magic in mom's kitchen by Lina Wertmüller (stage and costumes), directed by Barbara Bilabel, Theater Basel
  • February 1988: The secret of the briefcase (costumes), director: Ulrich Waller, Theater am Turm in Frankfurt
  • March 1988: The Seagull by Anton Chekhov (costumes), director: Elke Lang, Theater am Turm in Frankfurt
  • May 1988: My fight by George Tabori at the Berlin Festival
  • June 1988: Deserteur du malheur by Boris Vian (stage and costumes), director: Ulrich Waller, world premiere of the Kampnagel factory in Hamburg
  • December 1988: Seven Doors by Botho Strauss (costumes), directed by Elke Lang, Ulrich Waller, German premiere at Theater am Turm in Frankfurt
  • April 1989: Spring Awakening by Frank Wedekind (costumes), director: Hannelore Hoger , Theater in der Josefstadt in Vienna

reception

Rolf Michaelis wrote about Gisela Köster's costumes for the production of Hebbel's “Gyges” in Hamburg in 1982: “Gisela Köster designs symbolic costumes for the different temperaments of the people in this triangular story, which are at different stages of development. ... In her white dress, the collar of which she often flaps over her hair, her forehead and lower half of her face hidden behind a net veil, she [meaning Barbara Nüsse as the king's daughter] looks less like a Mohammedan in a shador than - tied in ribbons that still hold her feet tie up - a mummy. "

Individual evidence

  1. ^ Elke Lang, Ulrich Waller: My way takes longer: Elke Lang, director and actress , Achilla-Presse, Verlag-Buchh., 1999, ISBN 3-928398-60-1 , p. 191; Google Books
  2. 38th Mülheim Theatertage NRW 1982
  3. ^ Rolf Michaelis: Dear and Graus. World premiere in Hamburg - Niels-Peter Rudolph stages “Kalldewey Farce” by Botho Strauss , Die Zeit , February 5, 1982. “Gisela Köster puts Therese Affolter in a tight black leather suit and gives her a punk brush as a hairstyle.”
  4. Neue Zeitschrift für Musik , Volume 11; Volume 146, Schott's Sons, 1985; Google Books
  5. ^ Franz Xaver Kroetz: "Bauernsterben": materials for the play , program books of the Deutsches Schauspielhaus Hamburg, Rowohlt, 1985, ISBN 3-498-03447-2 , pp. 55 and 188; Google Books
  6. Ulrich Tukur , Ulrich Waller: Nothing but Theater: the history of the Hamburger Kammerspiele , Christians, 2003, p. 58; Google Books
  7. ^ Gundula Ohngemach: George Tabori , Fischer Taschenbuch Verlag, 1989, ISBN 3-596-27128-2 , p. 153; Google Books
  8. Patrick Primavesi: Heiner Müller Handbuch , Metzler, 2003, ISBN 3-476-01807-5 , p. 411; Google Books
  9. ^ Work chronology , website Matthias Beltz
  10. ^ Theater heute , issues 1–12, 1988, p. 47; Google Books
  11. My struggle. George Tabori , Berliner Festspiele, Theatertreffen 1988
  12. ^ Theater heute , issues 7–12; Volume 30, 1989, p. 7; Google Books
  13. Rolf Michaelis: Ernst Wendt stages Hebbel's "Gyges" in Hamburg - Mummy Twilight. , Die Zeit, December 3, 1982