Kay Voges

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Drama Dortmund

Kay Voges (born May 14, 1972 in Düsseldorf ) is a German theater and opera director and director of the Schauspiel Dortmund since the 2010/2011 season . Under his leadership, the house also increasingly became the focus of supra-regional attention, so called u. a. Die Welt das Schauspiel Dortmund is the "leading German-speaking theater laboratory".

Under his aegis, the Schauspiel Dortmund received the second place as Theater of the Year in the entire German-speaking area three times in a row in the annual critics survey of the specialist magazine Theater heute from 2015. a. on a par with the Berlin Schaubühne , the Volksbühne am Rosa-Luxemburg-Platz or the Theater Basel . Furthermore, it was named the best theater in North Rhine-Westphalia in 2016, 2017 and 2018 in the NRW critics' survey of Welt am Sonntag .

In 2017 Voges was invited to the Berlin Theatertreffen with his production The Borderline Procession . His production Der Theatermacher after Thomas Bernhard was shortlisted for the Theatertreffen in 2019.

On June 7, 2019, he was introduced by Vienna's City Councilor for Culture Veronica Kaup-Hasler as the successor to Anna Badora as director of the Volkstheater in Vienna from 2020/21.

Early theater work

After working as a projectionist and home educator, Voges began his theater career in 1996 as an assistant director at Theater Oberhausen and was part of the artistic direction there from 1999 to 2003. From 2003 he worked as a freelance director for drama and children's and youth theater at various theaters, including the State Theater in Darmstadt , the Theater Magdeburg at the City Theater of Munster , at the Theater Bonn , at the State Theater in Kassel , at the Palace Theater Moers and at the Dresden State Theater .

In 2005 he founded the independent theater neue bühne krefeld together with the dramaturge Klaus Schmidt .

Director of the Schauspiel Dortmund

Poster at the Schauspiel Dortmund, 2016

Kay Voges has been Artistic Director at Schauspiel Dortmund since the 2010/2011 season .

Voges staged numerous plays and material adaptations in Dortmund such as Woyzeck , Der Theatermacher or Der Meister und Margarita , but also brought specially developed premieres and piece developments to the stage as a director. Voges is often the author or co-author of these piece developments, so u. a. In 2013 at the multimedia performance The Golden Age - 100 Ways to Steal the Show from Fate (together with Alexander Kerlin ). Further in-house productions were u. a. The Show (2015), a fictional television evening based on Das Millionenspiel , The Borderline Procession (2016), hell / a moment (2017) or The 1. Evangelium ( Schauspiel Stuttgart , 2018) or The Parallel World - a play development that runs parallel on Berliner Ensemble plays and links the ensembles in Dortmund and Berlin via fiber optics.

Voges' works in Dortmund have repeatedly received awards and invited to theater festivals such as the NRW-Theatertreffen or the Heidelberger Stückemarkt . For his staging of Das Fest , Voges was nominated for the German theater prize Der Faust 2013 in the category “Directed Drama”. This was also the first production that committed itself to the specially conceived rules of Dogma 20_13 - a manifesto conceived and published by Schauspiel Dortmund that advocated closer and more direct interlinking between the theater and film worlds.

Working on the opera

In 2013 Voges celebrated his debut as an opera director at the Dortmund Opera with the production of Richard Wagner's Tannhäuser and the Singers' War on Wartburg . In 2015 his second opera direction, Der Freischütz , followed at the Hanover State Opera . This triggered a tangible theater scandal and forced the Hanoverian CDU to speak of “unspeakable loss of culture in favor of supposedly important deconstruction, allegedly contemporary contextualization and apparently sensation-driven one-off effects”.

In 2017, he staged the minimal opera Einstein on the Beach by Philip Glass and Robert Wilson for the first time without the direct involvement of Glass or Wilson.

aesthetics

Much of Voges' works employ various multimedia tools to support the narrative aesthetic underlying the piece. Video and music play a special role in this context, with some works almost completely breaking the boundary between theater and visual arts. Kay Voges has been working with the video artist Mario Simon and the composer TD Finck von Finckenstein on the implementation of this boundary shift for several years . Works such as "4.48 Psychose" (2014), "The Borderline Procession - A Loop Around That Which Separates Us" (2016), "Hell / Einoment" (2017) or "The Parallel World" (2018) are the result of this collaboration and show a permanent questioning of visual and acoustic narrative techniques.

Awards & invitations

Productions

Acting (selection)

Opera

Web links

Individual evidence

  1. Die Welt, 2013, cf. Press review on the production The Golden Age
  2. orf.at: Kay Voges new director of the Volkstheater . Article dated June 7, 2019, accessed June 7, 2019.
  3. God be punk . Night review. September 12, 2013. Retrieved September 12, 2013.
  4. ^ SPIEGEL ONLINE, Hamburg Germany: "Freischütz" scandal production in Hanover: CDU is upset about "German Trash Theater". In: SPIEGEL ONLINE. Retrieved April 28, 2016 .
  5. NRW Theatertreffen 2019 - Prize winners
  6. Kay Voges receives "Iron Reinoldus" , City of Dortmund, March 8, 2017