Urs Odermatt

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Urs Odermatt (born February 28, 1955 in Stans , Canton Nidwalden ) is a Swiss director , author and publisher .

Live and act

After some years as a freelance journalist , film critic and photographer , Urs Odermatt learned directing and scenic writing from the two Polish masters Krzysztof Kieślowski and Edward Żebrowski . He works in Germany and Switzerland as a director for film, television and theater. Together with the cameraman Rainer Klausmann , he founded the production company Nordwest Film AG in 1990 .

Urs Odermatt is the son of the Nidwalden photographer Arnold Odermatt and has been editing his work since 1993. When researching his film Constable Zumbühl he discovered the photo archive of his father in 1992 and presented the work to the work groups carom , in service , in civil , Feierabend and additional job together.

Urs Odermatt lives and works in the old spinning mill in Windisch , Switzerland.

Shooting of the feature film Wachtmeister Zumbühl . Left: Rainer Klausmann (camera), right: Urs Odermatt (director)

Movies
Nadja Uhl in Police Call 110: Small dealers, big dreams
Dominic Raacke and Jürgen Vogel in Police Call 110: Small dealers, big dreams

In addition to the two cameramen, the Swiss Rainer Klausmann and the Polish Piotr Lenar , the Munich film composer Norbert J. Schneider (today: Enjott Schneider ) is one of Urs Odermatt's regular close collaborators.

Reviews

Urs Odermatt has contributed two of the craziest episodes to the television formats Tatort and Polizeiruf 110 , which with their “successful mixture of seriousness and intelligent humor stand out from the monotony of crime series”, with a “panopticon of weird birds (...) around the realistic main characters to offer grotesquely patterned wallpaper as a background ”. "So much malicious comedy was rare in the crime genre".

Bought luck was one of the most successful Swiss auteur films in 1989 with the press and cinema audiences . The critics praised the "careful choreography of the looks, which contrasts favorably with the usual chatty character of German-language auteur films".

Sergeant Zumbühl disturbed by the claustrophobic drawing of the closed society of a small village, in which everyone knows everyone and everyone knows everything about everyone, "the world in a drop of water" ( Krzysztof Kieślowski ).

The Basler Zeitung writes about Der böse Unkel : “Urs Odermatt has made the most radical and provocative Swiss film in years” and the Tages-Anzeiger : “The style of 'Der böse Unkel' is so breathtakingly unusual that it is hard to believe The director is Swiss ”.

Awards

The television film Torn Hearts (1996; camera: Piotr Lenar ) was nominated for the competitions of the Baden-Baden Days of Television Play.

Bought luck was awarded the R d'argento at the RiminiCinema film festival in Rimini in 1989.

In 2012 the bad uncle won the New Vision Award for the most innovative film in the International Competition of the 11th Rome Independent Film Festival .

The Filmbewertungsstelle Wiesbaden awarded Purchased Luck the rating valuable and Mein Kampf the rating particularly valuable .

Theater productions

Productions

Andorra

Director style

“... as (...) an example of the broad spectrum of staging styles in the drama of the Saarland State Theater, the most disturbing works by the film and theater director Urs Odermatt that thwart expectations of spoken theater should be mentioned. His premieres of Rolf Kemnitzer's Die Bauchgeburt and Alfred Guldens Groteske Das. Little ones. Country. confront the viewer with an overabundance of linguistic and physical-gestural signs. The overabundance of information and impulses refer to the excerpts of our perception of reality and the character of the context as a perspective construct through the film- cut video clip aesthetics . The viewer has to give up his contemplative attitude towards what is depicted and consciously perceive it selectively. The limit to the non- semantically tangible is crossed in this form of representation: energetics takes the place of 'meaning' where the abyss of lack of communication and the perversion of questions of meaning to pure questions of power are to be evoked in the audience. Odermatt's theater of rhythmic, alienated, choral voices and expressive corporeality tries to confront what cannot be seen on the surface of media theater. "

Stage design

For most of Urs Odermatt's theater productions, especially for all world premieres, the Berlin set designer Dirk Seesemann built the sets. He supported Urs Odermatt's staging concepts "with its minimalist rigor".

Reviews

This. Little ones. Country.

",This. Little ones. Country.' ... deals with the pros (maintenance) and against (integration) of small countries, the delusional one-sided ideas and the pursuit of personal interests. As a means (...) Urs Odermatt uses the grotesque , occasionally even drifting into the absurd . The play poses a great challenge to both actors and audience ”.

“Not just the piece 'This. Little ones. Country.' is dismantled and reassembled, but also its characters and their language. Sentences collapse again and again like houses of cards, the ruins of which rise new facades. At Odermatt, everything becomes a quotation within a quotation, which is why Schlager choruses are sung, words like vinyl records are scratched and scenes (as expressly created by Gulden ) run as a game in the game. Again and again there is such a choral, sometimes concerted speaking, the dialogue voices overlap and intersect. A deconstructivist process that mixes pantomime with slapstick and absurd theater with concrete poetry. For quite a while this was able to captivate the dissection ritual tried and tested by Odermatt three years ago at the Saarbrücken premiere of Rolf Kemnitzer's Die Bauchgeburt and reveal the dialogical qualities of Gulden's piece ”.

The bad uncle

“Odermatt has looked around, as the author crosses Kroetzen's village tragedies with Ravenhill's broken Brit furor, adds Castorf wildness and splatter movies - an overloaded but controversial attempt. As an experienced director, however, he streamlines his theatrical first film to the rapid grotesque. Instead of banal accusations, he conjures deeper sounding (nightmarish) dream images onto the stage in some excellently choreographed scenes. So it happens that in the best moments, all of the topics that are touched on suddenly seem linked. Then the staging advances to a bizarre time analysis, to a darkly sparkling essay about sexuality and power. "

Trainspotting

“An insane ballet chases by, cascades of words overturn, overlap, interpenetrate, often barely understandable, then hammering each other in a crescendo staccato: 'I am, I was, everything is over quickly!' Word cascades in a directness that can hardly be surpassed, right up to fecal language and yet again lifted into a highly artificial idiom, exaggerated by precisely inserted stuttering or echo-like repetition of individual words or sentence fragments. (...) Urs Odermatt's staging is merciless - in its immediacy, but almost even more so in the rapid choreography, which demands a tremendous presence from the ensemble in costumes with rustling paper and pages printed from tabloids. Merciless in a physical closeness that does not require any nudity or even exposure because the inner exposure is turned outwards ”.

Up close

“Men let their pants down, women break through a huge screen vagina onto the stage. So deflowered from behind, the splayed labia flaunt the Oldenburg audience right in the face. The premiere of Patrick Marber's 'Hautnah', directed by Urs Odermatt, redeemed the title of the play and thus separated the more sensitive theatergoers from the more open-minded after the break in the Oldenburg State Theater. But they then formed a clear majority and acknowledged the production with a lot of applause ”.

  • The ignorant and the madman

  • The ignorant and the madman

  • The ignorant and the madman

  • The ignorant and the madman

Scripts, plays, radio plays

Fonts

author

  • Urs Odermatt: Switzerland - carte blanche for the special case "I" . In: Dominik Riedo: Heidis + Peters. An anthology . Pro Libro publishing house, Lucerne, ISBN 978-3-9523525-3-3 .
  • Urs Odermatt: Kora . Play. Theaterstückverlag, Munich 1998.
  • Urs Odermatt: Sergeant Zumbühl . Screenplay for a feature film with 79 still photos by Arnold Odermatt. Benteli Verlag, Bern 1994, ISBN 3-7165-0960-4 .
  • Urs Odermatt: The bad uncle . Play. In: Program for the premiere . Reutlingen Theater, Reutlingen 2002.

editor

Web links

Commons : Urs Odermatt  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Springer & Winckler Gallery , Berlin; Steidl Verlag , Göttingen
  2. ↑ Markus Ehrat: 31 Lofts - Living in the old spinning mill . ISBN 3-907496-28-0
  3. ↑ In: Stern , No. 25/1996
  4. ^ In: FAZ , June 17, 1996
  5. ↑ Sunday, June 16: Police call 110 . In: Der Spiegel . No. 24 , 1996 ( online ).
  6. ^ In: Frankfurter Rundschau , March 11, 1989
  7. ^ In: Basler Zeitung , July 26, 2012
  8. ↑ In: Tages-Anzeiger , July 10, 2012
  9. ↑ Michael Birkner: Just no complexes - 15 years of theater for the Saarland . Texts, pictures, data on the management of Kurt-Josef Schildknecht . Gollenstein Verlag, Blieskastel, ISBN 3-938823-07-0 .
  10. ^ In: Saarbrücker Zeitung , November 21, 2005
  11. ^ Benno von Skopnik. In: Die Welt Kompakt , November 22, 2005
  12. ↑ Christoph Schreiner. In: Saarbrücker Zeitung , November 21, 2005
  13. ↑ Otto Paul Burkhardt : Do you love me? Yes, me too - Urs Odermatt stages his first play as a furioso about sexuality and power . In: Reutlinger Nachrichten , April 29, 2002
  14. ↑ Swiss Dispatch Agency , April 28, 2005
  15. ↑ Marijke Gerwin: How the lotter life plays - they fucked and they beat each other . In: taz , April 5, 2000.
personal data
SURNAME Odermatt, Urs
BRIEF DESCRIPTION Swiss director
DATE OF BIRTH February 28, 1955
PLACE OF BIRTH Stans , Canton of Nidwalden , Switzerland