Uwe Eric Laufenberg

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Uwe Eric Laufenberg, 2014 at the Frankfurt LAB

Uwe Eric Laufenberg (born December 11, 1960 in Cologne ) is a German actor , director and theater manager . Since August 2014 he has been director of the Hessian State Theater Wiesbaden .

Life

After graduating from high school, Laufenberg studied drama at the Folkwang Hochschule Essen from 1981 to 1984 and learned his trade through assistants and internships with Rudolf Noelte , Dietrich Hilsdorf , Jean-Pierre Ponnelle , Peter Stein and Ruth Berghaus . In 1983 he made his debut at the Staatstheater Darmstadt , in 1985 he switched to the Schauspiel Frankfurt as an actor and assistant director , and from 1988 his first productions followed there - Harald Kuhlmann's Whitsun Bell , Rainald Goetz 's War , Ferdinand Bruckner's Disease of Youth and Albert Camus ' Die Gerechten on one evening, and return to the desert of Bernard Marie Koltès .

In 1990 Laufenberg moved to the Schauspiel Köln , where he a. a. Merlin or Das wüsten Land , the visit of the old lady and Clavigo staged. From 1993 to 1997 he was a member of the management team at the Schauspielhaus Zurich , where he worked on, among others, Die Räuber , Dantons Tod and Hamlet . He then worked as a senior stage director and director at the Maxim-Gorki-Theater in Berlin, where he dramatized Alfred Döblin's novel Berlin Alexanderplatz , staged a. a. The rats , Lulu and Platonov . From 2000 to 2004 Laufenberg worked as a freelance director and actor a. a. in Berlin, Brussels, Geneva and Munich.

Since 1992 Laufenberg has also staged music theater at international theaters , for example Ariadne auf Naxos at the Theater de la Monnaie in Brussels, Der Rosenkavalier and Lady Macbeth von Mzensk at the Semperoper Dresden, The Bartered Bride at the Volksoper Vienna or Tosca at the Grand Théâtre de Genève . In summer 2008 his production of Ernst Krenek's Karl V was shown at the Bregenz Festival , in autumn 2010 his Don Giovanni at the National Center for the Performing Arts in Beijing.

Intendant in Potsdam

From 2004 to 2009 Laufenberg was director of the Hans Otto Theater in Potsdam . During the new building, according to plans by Gottfried Böhm , this was without a permanent home for two years. Laufenberg invented the concept of Potsdam en route , staged Mrs. Jenny Treibel based on Fontane's novel and during this time played with his ensemble in various locations in the city, including the French Church , the orangery of Sanssouci Palace and the Lichtenau Palace . He opened the new house on September 22, 2006 with his staging of the world premiere of Torsten Beckers Katte . In Potsdam he was also active as an actor and singer, including in Veronika decides to die after Paulo Coelho and alongside Dagmar Manzel in the operetta Die Fledermaus , staged by Adriana Altaras .

Director of the Cologne Opera

From the 2009/2010 season Laufenberg was artistic director of the Cologne Opera . Here he staged Die Meistersinger von Nürnberg , Ariadne auf Naxos , as well as a small Mozart cycle ( Don Giovanni , Die Entführung aus dem Serail and La clemenza di Tito ). The achievements of his directorship were recognized in autumn 2012 by the specialist magazine Opernwelt and its annual survey of 50 international opera critics with the award Opera House of the Year . It was the first and so far only time that the Cologne Opera was awarded this honor.

“The Cologne Opera mastered”, a critic said, “at once several balancing acts to numerous alternative venues with flying colors and served an ambitious program with success - unfortunately, for the director Uwe Eric Laufenberg, the unfortunate tactics of Cologne's dumb cultural policy became a bloodline from it. ”Because at the time of the award his directorship had already ended - after a tough cultural-political dispute over the renovation or demolition and new construction of the theater and opera house, as well as fierce battles over the budget of the Cologne Opera, which Laufenberg finally asked to dissolve his up 2016 current contract moved. After public hiccups, termination without notice and legal dispute, the contractual relationship was finally terminated by mutual agreement on August 31, 2012. In the critics' survey by Opernwelt magazine , the events in Cologne were also voted the annoyance of the year .

The productions of Le nozze di Figaro , Così fan tutte and Parsifal planned by Laufenberg for 2012/2013 were all implemented before his successor, but without Laufenberg as a director. In August 2013, a publishing house in Potsdam published his literary processing of his experiences in Cologne in the form of a novel. Palermo describes the cultural-political antics and quarrels surrounding an opera house, transposed to Sicily. From 2013 to 2015 Laufenberg worked on Wagner's entire Ring des Nibelungen in the new Linz Music Theater , a tetralogy of intrigues and power struggles. It conducted by Dennis Russell Davies .

Director of the Hessian State Theater Wiesbaden

Even before he took up the post of artistic director of the Hessian State Theater Wiesbaden in August 2014, Laufenberg was confronted with severe criticism because he announced that he wanted to replace some thirty-year-old productions - such as Hansel and Gretel , La traviata and La Bohème  - with new productions . Laufenberg chose Die Frau ohne Schatten by Hugo von Hofmannsthal and Richard Strauss as the opening premiere of his directorship . His production was very well received by both the audience and the critics. October 2014 finally had the Darmstadt State Theater , the newly established Hessian State Ballet 's first premiere founded and run by the two state theaters in Darmstadt and Wiesbaden, again successful. The premiere of La Bohème - taken over from Augsburg - received mixed reviews, but overall "warm to enthusiastic approval". Laufenberg immediately brought together the various children's and youth theater divisions of his house in the new project “JUST” ( Young State Theater ) under the direction of his brother-in-law Carsten Kochan .

Elektra , director: Uwe Eric Laufenberg, stage: Rolf Glittenberg, costume: Marianne Glittenberg, Vienna State Opera 2015

In March 2015, Laufenberg staged the new production of Elektra von Hofmannsthal and Strauss at the Vienna State Opera . The stage and costumes were designed by Rolf and Marianne Glittenberg , with Mikko Franck conducting . The central parts were sung by Anna Larsson (Klytämnestra), Nina Stemme (Elektra), Ricarda Merbeth (Chrysothemis), Falk Struckmann (Orest) and Norbert Ernst (Aegisth). In November 2014, the director was invited by the Bayreuth Festival to take over the staging of Parsifal for 2016 - after the originally planned Jonathan Meese's concept had been classified as unaffordable and the controversial artist had been unloaded. Gisbert Jäkel designed the stage design, Jessica Karge designed the costumes. Hartmut Haenchen took over the conducting at short notice . Klaus Florian Vogt sang the Parsifal, Georg Zeppenfeld the Gurnemanz and Gerd Grochowski the Klingsor . The Kundry took over Elena Pankratova . The production was interpreted as a "fantasy about Christianity in times of distress".

The focus of the 2016–2017 season at the Hessisches Staatstheater Wiesbaden was Wagner's Ring des Nibelungen in a revised version of the Linz version, now with Alexander Joel on the podium. Gerd Grochowski (Wotan) and Margarete Joswig (Fricka), Andreas Schager (Siegfried) and Catherine Foster (Brünnhilde) took on the central roles .

Solo Discourses

In the context of the COVID-19 pandemic in Germany, Laufenberg published seven solo discourses on the Youtube channel Staatstheater Wiesbaden between April 24 and 27, 2020 , as well as violent reactions from the director to the cancellation of premieres and repertoire performances at the Hessian State Theater, but also on the cancellation of the International May Festival in Wiesbaden. Parallel to his colleagues Nikolaus Bachler and Frank Castorf he complained about the emptiness of his stages and auditoriums and accused: "But ... if art wants to be honest, it cannot avoid these borders." He first criticized the Chinese government for covering up, Falsification of figures and imprisonment of regime critics, using the example of the missing Ren Zhiqiang . He criticized the European governments for the unthinking adoption of the Chinese restrictions on freedom. And he addressed the problem of many poor countries in Asia and Africa, where social distancing will lead to dying of hunger. “The freedom of life is an unconditional freedom. [...] And we are now on our knees together as a Western community .... ”And he criticized dying at the external borders of the European Community.

In the 7th Discourse ( This must never happen to us again ) Laufenberg cited the Basic Law for the Federal Republic of Germany , including the section on freedom of assembly . He asked the question: “May we allow this, may we allow that in our lives, in the society we live and breathe for, that these basic laws are simply swept away, overruled?” And he immediately answers the question himself: "No, no, and once again no. [...] We are one human race, we are one nature, we are one earth. [...] We belong together. ”Laufenberg also spoke about“ social death ”.

Michael Kaminski located the discourses between Marquis Posa and Bruscon . He was criticized in several media because his statements " contain elements of conspiracy theory " ( FAZ ). The stage manager of the Hessian State Theater and chairman of the staff council, Frank Hietzschold, posted a counter-speech to Laufenberg on the Internet, in which he spoke about anarchy and dictatorship, power and responsibility.

Reopening of the Wiesbaden theater

Already during the shutdown due to the COVID-19 pandemic in Germany , Laufenberg began planning for the time after. He succeeded - in strict compliance with all official regulations - as the first theater in Europe to raise the curtain again. On May 19, 2020 there was the programmatic recital Mein Geist thirstet für deed, my breath for freedom (Schiller) with Günther Groissböck (bass), Alexandra Goloubitskaia (piano) and Uwe Eric Laufenberg (recitation). Songs by Schubert and Mahler, texts by Schiller and Brecht could be heard. There were standing ovations as well as for the following cross-sectional evenings, first Der fiegen Holländer and Arabella with Gabriela Scherer and Michael Volle , then Tristan and Isolde with Andreas Schager and Catherine Foster in the title roles, with Margarete Joswig (Brangäne), René Pape (brand) , Thomas de Vries (Kurwenal) and Aaron Cawley (Melot), and Alexandra Goloubitskaia at the piano. The series of cross-cuts ended with Carmen , with Annalisa Stroppa in the title role, who for once - because of the distance rule - could not be murdered by Don José. The performances took place in compliance with the distance rule, and the audience - only 200 visitors were allowed - was spread over the entire auditorium. The end of the European culture quarantine led to significant media coverage across Europe, including the New York Times .

At the beginning of June 2016, Beckett premiered three times in the large house: Happy days , waiting for Godot and the final , staged by Laufenberg himself. A success with the audience and the press. The FAZ summed up: "Can't be surpassed in absurdity ..."

“Do we submit - like Vladimir and Tarragon - to social paralysis or do we overcome the fate called Corona? No matter how much Beckett's pieces and their Wiesbaden implementations show the stalemate, the fact that the Beckett trilogy arrives on stage under the auspices of these days contains revolutionary power. "

- Michael Kaminski : When waiting becomes an alibi, pure theater, premiere on June 6, 2020

On June 8, 2020, the Trio Groissböck, Goloubitskaia and Laufenberg opened the concert series of the Vienna State Opera with the Wiesbaden program after the COVID-19-related shutdown.

Private

Laufenberg is married to the journalist Eva-Maria Götz-Laufenberg and lives with her in the Wiesbaden district of Biebrich . Their daughter, Laura Laufenberg , born 1995 in Cologne, completed the Max Reinhardt Seminar in Vienna and is currently engaged as an actress at the Lower Austria State Theater.

The director's sister, Iris Laufenberg , has been the artistic director of the Schauspielhaus Graz since 2015 .

literature

Web links

Individual evidence

  1. ^ Zeit online, dpa Newsticker from October 1, 2012.
  2. ↑ Wiesbaden's designated director accounts , SWR, August 30, 2013.
  3. ^ Laufenberg leaves the Cologne Opera , Die Welt , May 2, 2012.
  4. ↑ In an interview with the Kölner Stadt-Anzeiger , Laufenberg relentlessly reckoned with the, in his eyes, amateurish cultural policy of Cologne: “Nothing unthinkable in Cologne” , June 14th, 2012. The requested termination of the contract was thereupon on June 21st by the main committee of the city council Cologne converted into a termination without notice. An apology from the director was not accepted: City fires director Laufenberg , Kölner Stadt-Anzeiger, June 20, 2012. Laufenberg's lawyers filed a lawsuit against this dismissal at the Cologne district court and the stage arbitration court. As part of an out-of-court agreement, a mutually agreed termination agreement was reached on August 31, 2012. The parties agreed on the following language: “The Mayor of Cologne thanks Laufenberg for his outstanding artistic performance and wishes him all the best for the future. Furthermore, the city stipulates in a cease and desist declaration that it can no longer be said that Laufenberg has exceeded the artistic budget specified in his contract. ”Cf. Cologne Opera, the last days protocol on Laufenberg's homepage, August 12, 2012; Retrieved September 24, 2014.
  5. ↑ Critic survey . In: Oper 2012 Das Jahrbuch , pp. 94–120; and Christoph Vratz, Albrecht Thiemann: Opera House and Annoyance of the Year: Power of Fate? Opaque, unpredictable, unheard of: Cologne and its opera - a (cultural) political moral image in five episodes .
  6. ↑ Revenge for Cologne - A real opera director turns cultural life into a novel . In: Die Zeit , No. 35/2013
  7. ↑ Cologne's ex-opera boss Uwe Eric Laufenberg accounts. In: Bonner Generalanzeiger. August 20, 2013, accessed September 9, 2014 .
  8. ↑ An online petition resulted in almost 1,500 (out of 10,000 targeted) signatures for the preservation of the old productions. See final end for cult productions in the Wiesbaden State Theater . ( Memento from February 1, 2014 in the Internet Archive ) In: Wiesbadener Tagblatt , December 6, 2013. Petition to the theater . ( Memento from February 1, 2014 in the Internet Archive ) In: Wiesbadener Tagblatt , January 23, 2014; as well as the petition for the preservation of the classic productions at the Wiesbaden State Theater . Petition page on open petition; accessed December 2, 2014.
  9. ↑ “He turns the piece upside down.” ( Deutschlandfunk , September 16, 2014) “The clarity of his narrative, the lively leadership and above all the passion with which the ensemble acts on the stage of the State Theater come from to the benefit of a convoluted fairy tale story. "( Wiesbadener Kurier ( Memento from September 23, 2016 in the Internet Archive ), September 15, 2014)" Debut with a bang "( op-online , September 15, 2014)
  10. ↑ "Three rousing performances, three strong choreographers - a complete merger success." ( KulturZeit 3sat , accessed on December 2, 2014)
  11. ↑ "Individual boos related more to the decision to show a new" Bohème "than to the new" Bohème "itself. The dull and decorative aspects of which seem to be considered innovative." ( Frankfurter Rundschau , October 14, 2014 ) "[...] and there are a few boos for the second picture, which is also musically blurred and not ready for a premiere. In the final applause, however, warm to enthusiastic approval for the production taken over from Augsburg dominates. In addition to the ensemble, general music director Zsolt Hamar is celebrated, who conducts a breathing, glowing, soulful Puccini, in which the state orchestra shines with beautiful solo contributions. Such broad approval was not to be expected. "( Wiesbadener Kurier ( Memento from October 20, 2014 in the Internet Archive ), October 13, 2014)
  12. ↑ This picture shows Anne Schwanewilms in the role of Chrysothemis, which she has not yet sung at the Vienna State Opera because she fell ill after the photo rehearsal. Ricarda Merbeth stepped in for them .
  13. ^ Nachtkritik.de : Auf der Schlachteplatte , review by Wolfgang Behrens, July 25, 2016
  14. ↑ a b Michael Kaminski: Burning speeches from the Hessian state capital , accessed on June 19, 2020
  15. ↑ On the current situation - a video message from Nikolaus Bachler , April 24, 2020
  16. ↑ Der Spiegel (Hamburg): "I do not want to let Ms. Merkel tell me that I have to wash my hands" , Frank Castorf calls for "republican resistance" to the pandemic measures (interview), April 28, 2020
  17. ^ Frankfurter Allgemeine Zeitung : Xi Jinping, a clown without clothes? , April 8, 2020
  18. ↑ Laufenberg. Solo Discourses »3. The history of the virus, the fear of death and the government's fear of the people ” , April 25, 2020
  19. ↑ YouTube: Laufenberg. Solo Discourses »4. Art Freedom « , April 26, 2020
  20. ↑ Uwe Eric Laufenberg: »7. That must never happen to us again « , April 27, 2020
  21. ↑ a b Artistic freedom as a basic right “Because we are banned as theater” , by Eva-Maria Magel, FAZ May 6, 2020
  22. Jump up to Laufenberg's "Solo Discourses" Bürstädter Zeitung April 28, 2020
  23. ↑ Wiesbaden "Solo Discourses" by Uwe Eric Laufenberg: An Artistic Director walks on the path of conspiracy , by Claus Ambrosius, Rhein-Zeitung May 13, 2020,
  24. ↑ Corona crisis: Intendant Laufenberg calls for resistance , by Volker Milch, Wiesbadener Kurier May 1, 2020 (... for conspiracy theories and "crude National Socialism comparisons" ...)
  25. ↑ SWR2 : Staatstheater Wiesbaden was the first to resume theater on May 20, 2020
  26. ^ Hessisches Staatstheater: The Flying Dutchman & Arabella , accessed on June 27, 2020
  27. ↑ Online Merkel: WIESBADEN / State Theater: TRISTAN AND ISOLDE - Scenes with “orchestral” accompaniment on the piano , 23 May 2020
  28. ↑ Giornale della Musica: Wiesbaden ha riaperto , May 21, 2020 (Italian)
  29. ↑ Platea Magazine: Annalisa Stroppa: "Los teatros vacíos nos recuerdan que la belleza está en hacer las cosas juntos" , May 22, 2020 (span.)
  30. ^ New York Times : An Audience Comes Out of Lockdown for Schubert and Mahler , report by Jack Ewing, May 19, 2020
  31. ↑ Nachtkritik.de : Trainers of Standstill , criticism by Shirin Sojitrawalla, June 6, 2020
  32. ^ Frankfurter Allgemeine Zeitung : swallowed by hoop skirt , June 6, 2020
  33. ↑ Online Merkel: WIEN / State Opera: GÜNTHER GROISSBÖCK / ALEXANDRA GOLOUBITSKAIA / Uwe Eric Laufenberg , June 9, 2020
  34. ↑ He's back. ( Memento of September 7, 2014 in the Internet Archive ) Opernnetz, July 23, 2014, accessed September 9, 2014.
  35. ^ State Theater of Lower Austria: Laura Laufenberg , accessed on May 22, 2020
  36. ↑ Andrea Schurian: No desire for dusty theater , Der Standard (Vienna), June 17, 2014, accessed on November 9, 2016.
personal data
SURNAME Laufenberg, Uwe Eric
BRIEF DESCRIPTION German actor, director and theater manager
DATE OF BIRTH December 11, 1960
PLACE OF BIRTH Cologne