Hans Martin Ritter

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Hans Martin Ritter in Robert Musil's Disgruntled Pictures , 1992

Hans Martin Ritter (born July 4, 1936 in Schaumburg , today a district of Rinteln ) is a German university professor . He is one of the founders of theater education in Germany. He is also a speech scientist and one of the most important representatives of gestural speaking in drama education . In addition, joined and he acts as stage speakers and singers as well as a solo actor with scenic monologues and is as a pianist , accompanist and director worked. He lives in Berlin .

Life

As the son of Heinz Ritter spent Hans Martin Ritter his childhood with three sisters in private, at the Waldorf education oriented orphanage his father in the countryside. He received piano lessons at an early age from Viktoria Brosig-Tobias. After attending grammar school in Hameln , he studied school music and speech training in Berlin as well as German and theater studies at the University of Music and the Free University of Berlin . He also studied solo piano with Rudolph Schmidt and Monique de la Bruchollerie as well as recitation and stage practice with Otto Warlich and voice training and singing with Doris Winkler.

After brief teaching at Berlin high schools in 1970 he went to the University of Duisburg as an academic adviser for speech training and school theater , in 1973 as a professor at the University of Education in Berlin , in 1980 to the Institute for Game and Theater Education at the Berlin University of the Arts , whose director he long - alternating with Hans-Wolfgang Nickel - was. From 1990 to 2001 he trained as an actor at the Hanover University of Music and Drama and, in addition to teaching assignments at German and Austrian universities, spent more than ten years training and continuing education for TV presenters for ARD and ZDF .

The actress Ilse Ritter is his sister.

Work (research)

In the research area of ​​theater education, Hans Martin Ritter carried out a series of experiments on Brecht's model of the didactic play from 1973 to 1982 . The aim of the study was to develop the didactic piece into a theatrical form of political-aesthetic education and - under the term theater as a form of learning - into an interdisciplinary project method for schools. Based on this series of experiments, he was one of the initiators of the nationwide model experiment program for artists and students from 1976 to 1980, scientific director of the joint preliminary phase of all model experiments and all actors involved, and head of the Berlin model experiment. The focus here was on expanding the acting professional field through theater work with pupils and young people in the context of and outside of the lessons - especially at comprehensive, secondary and secondary schools in Berlin, different models of theatrical project forms and the cooperation between theater and school.

When she switched to acting training (1990), the focus shifted to questions of gestural speaking in scenic work, body-oriented work with the voice, musical work and theoretical work based on Konstantin Stanislawski , Michael Chekhov , Bertolt Brecht and Antonin Artaud Penetration of the drama training field . For Hans Martin Ritter, his own artistic practice and its theoretical reflection were an essential part of this research context on the relationship between word and scenic situation. Following the impulses of the Theater Education Congress in Berlin in 1973, acting training was generally considered to be a prominent, separate sub-area of ​​theater education and its issues relating to learning through theater and through acting.

Artistic practice

After starting out as a solo pianist and concert and oratorio oratorio, Hans Martin Ritter appeared primarily as a stage speaker and stage singer with literary and literary-musical programs, as an ensemble actor and as a soloist with scenic monologues, etc. a. with Franz Kafka : Der Bau (1984), the Malte Laurids Brigge von Rilke (1987), the night watch of Bonaventura (1994), a Heine performance (1997) and Robert Musil's story Die Amsel (2004), also as a speaker in Works of New Music - u. a. with Zimmermann's Ekklesiastische Aktion , Schoenberg's Ode to Napoleon with various instrumental ensembles, a. a. the Vogler Quartet as well as in melodramas (with Gottfried Eberle and Luiza Borac , piano) and with experimental jazz (with Walter Norris , piano). For a few years he appeared as a pianist with Monika von Hattingberg (flute), more recently as a song accompanist and director in musical monodramas with Patricia Freres (soprano).

Fonts

The publications by Hans Martin Ritters show two main focuses, corresponding to the professional vita: on the one hand, the theater-pedagogical publications on the model of the teaching play and on the theater as a form of learning, and on the other hand the gestural speaking on the stage, the word and the music in the scenic Context and the works dedicated to the crossing of boundaries in the arts. In addition to numerous articles by him a. a. the following book publications:

  • Starting point: Brecht - experiments on the didactic piece. Recklinghausen 1980
  • The gestural principle at Bertolt Brecht. Prometh, Cologne 1986, ISBN 3-922009-84-0
  • Acting and looking. Contributions to a theory of play and theater pedagogy (edited jointly with Thomas von Fragstein), Theaterpädagogik 6, Hochschule der Künste Berlin, Berlin 1987, ISSN  0175-5889
  • On the trail of the word. Prometh, Cologne 1989, ISBN 3-922009-96-4
  • Play and Theater Education: A Model. HdK materials 90/1, Berlin University of the Arts (ed.), Berlin 1990, ISBN 3-924206-90-2
  • Speaking as art. Positions and processes of aesthetic communication. (Ed. Together with Thomas von Fragstein), Sprache und Sprechen Vol. 22, Scriptor, Frankfurt am Main 1990, ISBN 3-589-21002-8
  • Word and reality on stage. LIT, Münster 1997, 2nd edition 2003, 3rd edition 2014, ISBN 3-8258-3128-0
  • Speaking on the stage. Henschel, Berlin 1999, new edition 2009, ISBN 978-3-89487-323-3
  • The actor and the music. Henschel, Berlin 2001, ISBN 3-89487-403-1
  • Developments and perspectives in play and theater education (edited together with Ulrike Hentschel). Schibri, Berlin 2003, ISBN 3-933978-83-1
  • Theater language music. Border crossings between art and science . Schibri, Berlin 2009, ISBN 978-3-86863-028-2
  • Winter trip. Wilhelm Müller discovers lyrical monodrama. LIT, Berlin 2014, ISBN 978-3-643-12636-8
  • Playback time. Essays on questions of theater aesthetics and theater pedagogy. Epubli, Berlin 2014, ISBN 978-3-8442-9577-1

Reviews

  • Ulrike Hentschel to: Speaking on stage . In: Korrespondenzen , Zeitschrift für Theaterpädagogik, Heft 35/36, Schibri, Berlin 2000, ISSN  0941-2107
  • Roland Matthies zu: Speaking on stage . In: Sprecher , Journal for Speech Science - Speech Pedagogy - Speech Therapy - Speech Art, I / 1999, Bayerischer Verlag für Speechwissenschaft, Regensburg 1999, ISSN  0724-1798
  • Rainer O. Brinkmann zu: The actor and the music . In: Zeitschrift für Theaterpädagogik , issue 42, Schibri, Berlin 2002, ISSN  0941-2107
  • Hellmut K. Geißner on: Between Spaces : Theater-Language-Music. Border crossings between art and science. In: DGSS @ ktuell 1/2010, ISSN  2191-5032

Web links

Individual evidence

  1. ↑ Marianne Streisand u. a. (Ed.): Generations in conversation. Archeology of Theater Education, I and II . Schibri, Berlin 2005 and 2007, ISBN 3-937895-22-1
personal data
SURNAME Ritter, Hans Martin
BRIEF DESCRIPTION German theater and drama teacher
DATE OF BIRTH 4th July 1936
PLACE OF BIRTH Rinteln