Patrick Bannwart

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Patrick Bannwart (born in 1974 in Wettingen ) is a Swiss stage and costume designer and video designer , predominantly with director David Boesch works.

life and work

Bannwart trained as a theater painter at the Zurich Opera House from 1991 to 1994 and studied stage design with Erich Wonder at the Academy of Fine Arts in Vienna from 1997 to 2001 . Since 2000 he has worked as an outfitter on various stages, including a. in Vienna, Mannheim, Bregenz, Zurich, Berlin, Ingolstadt, Rostock, Hamburg, Munich and Bern.

In 2004 he met David Bösch in Zurich and designed the set for his diploma production, Wedekinds Spring Awakening . This was followed by a series of joint works at the Schauspiel Essen - such as Volksvernichtung or Meine Leber ist sinnlos by the early deceased Austrian cult author Werner Schwab , Hauptmanns Ratten , Molnárs Liliom and Büchners Woyzeck - and at the Hamburg Thalia Theater . In 2004 and 2006 there were co-productions between the Thalia Theater and the Salzburg Festival : Bösch staged as part of the Young Directors Project , Bannwart designed the stage sets. With the 2006 production - Much Ado About Nothing - Bösch won the Salzburg competition.

The joint journey through the German-speaking theater landscape finally brought the director and set designer back to Switzerland, where the two staged Der Drang von Kroetz at the Stadttheater Bern in 2005 and Uhrwerk Orange by Burgess at the Schauspielhaus Zürich in 2008 .

At Schauspiel Essen, Bannwart also worked for the German director Anselm Weber : in 2009 for the German-language premiere of Barbelo, of Dogs and Children by the Serbian playwright Biljana Srbljanovic , in 2010 for the world premiere of Reto Finger's adaptation of Anna Segher's novel Transit . The latter production was also taken over at the Schauspielhaus Bochum , where Weber was installed as artistic director from 2010. In his first season he staged the world premiere of Christoph Nussbaumeder's Eisenstein , Bannwart designed the set.

In 2009 the duo made their debut at the Burgtheater in Vienna , where Bösch became a central director of the Hartmann era and Bannwart his most important stage designer. The Parzival by Tankred Dorst , which the two realized in April 2014 in the Akademietheater , the little house of the castle, may be considered a masterpiece of the jointly developed end-time aesthetic : “Its stage: black and gray and littered like in the youth disco, an empty level which then rises as an incline towards the rear and offers a perfect projection surface for bannwarts in its cuteness, comforting and terrifying drawings and animations of poor doggie skeletons or burning skyscrapers. ”“ Bösch has drastically shortened the text, relies on the suggestive effect of light and fog . The use of superimposed comic drawings in a deliberately naive style (stage concept: Patrick Bannwart), which creates an unreal atmosphere, is great. "

The Duo Bösch / Bannwart has also been staging operas since 2010. A successful L'elisir d'amore at the Bavarian State Opera in Munich was followed by invitations to the Munich Opera Festival , where the two have so far realized three new productions in the Prinzregententheater , as well as to the Frankfurt Opera , the Oper am Theater Basel , the Opéra National de Lyon die Vlaamse Opera in Antwerp, the Royal Opera House Covent Garden in London and the National Opera Amsterdam.

In 2013, Bannwart designed the cover of the theater magazine Deutsche Bühne . Since 2014 a monthly theatrical omic has been published there under the name "Kantinenhelden" in collaboration with Phillip Löhle .

Stage designs for David Bösch productions

play

Opera

Web links

Individual evidence

  1. ↑ Martin Pesl: Reunion in Finsterworld , night review, April 27, 2014
  2. ↑ Guido Tartarotti: Why don't you buy him a Gameboy! , Courier, April 28, 2014
personal data
SURNAME Bannwart, Patrick
BRIEF DESCRIPTION Swiss stage designer
DATE OF BIRTH 1974
PLACE OF BIRTH Wettingen , Switzerland