Wolfgang Storch (dramaturge)

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Wolfgang Storch (* 1943 in Berlin ) is a German dramaturge, curator, director and author. He lives in Berlin and in Volterra ( Tuscany , Italy ).

Life

Wolfgang Storch grew up in Munich after the war . After graduating from high school in 1962, he studied theater studies, art history and German literature in Cologne, Vienna, Hamburg and Munich. As an assistant director he worked at the Deutsches Schauspielhaus in Hamburg from 1963 to 1966. The first directorial work followed in Braunschweig in 1966 and Düsseldorf in 1968. At the same time, the first books and documentaries appeared. In 1972/73 he was dramaturge at the Staatstheater Kassel, from 1980 to 1983 at the Schauspiel Frankfurt and 1985/86 at the Schiller Theater Berlin. At the same time he worked as a production dramaturge and director. In 1977 Wolfgang Storch headed the theater publishing company at Suhrkamp. In 1978 he was in charge of his own edition at Felix Bloch Erben.

Wolfgang Storch has been working on publications on specific thematic complexes since the 1970s. These books, catalogs and magazines published by him are mostly designed by him, understood as a separate narrative form, a mise en livre .

In the 1980s he began to curate exhibitions: thematically related art exhibitions and documentaries on theater and film work. He developed cross-disciplinary concepts for artistic manifestations based on individual locations (Aufbruch Amerika 1992, Dante Sequenzen Thüringen 1995, Station Weimar 1999, For the Argument of the Arts 2004).

In 1988 he began teaching the stage design classes of Achim Freyer (Berlin University of the Arts, until 1990) and Karl Kneidl (Düsseldorf Art Academy, until 2009). In 1995/96 he was visiting professor at the Johann Wolfgang Goethe University in Frankfurt am Main.

Wolfgang Storch has lived in Berlin since 1975, and in Volterra since 1992. His first marriage was to the costume designer Gisela Storch-Pestalozza , with whom he has two sons. In 2000 he married the dramaturge Klaudia Ruschkowski . With her he has a son.

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Twenties, Relationship of the Arts

The rediscovery of the twenties shaped the sixties and seventies and was the subject of Wolfgang Storch's work from the beginning: in particular, the discussion with Caspar Neher (staging list, Velber 1966), Wladimir Majakowski (Velber, 1969), Bertolt Brecht ( Der Untergang des Egoists Fatzer , dramaturgy UA Berlin 1976, directed by Luxembourg 1998) and Franz Jung (ed., Theater plays, works 7 , 1989). The relationship between the arts, especially between theater and the visual arts, was also a topic that Wolfgang Storch has been documenting in books since the 1960s ( stage and fine arts in the 20th century , Velber 1968), followed in exhibitions ( Das scenic eye , Institute for Foreign Cultural Relations 1995–2008) and examined in essays ( Gesamtkunstwerk , 2002).

The meeting with Heiner Müller

In 1975 Wolfgang Storch moved to Berlin, where he worked as a freelance dramaturge (Schaubühne am Halleschen Ufer, Schiller Theater) and director (Forum Theater, Schillerwerkstatt), taught at the Free University of Berlin and began to organize symposia and readings (Berliner Festspiele). At the Forum Theater he staged a collage about the end of the war in Berlin : You can start over with your last breath . He wanted to find out what state the city was in when he left it in 1945. The focus was on the text Das Laken by Heiner Müller . This is how he got to know Heiner Müller, an encounter that remained decisive for his work. He directed the Heiner Müller retrospective for the program “Berlin - City of Culture 1988”. In 1989 he presented the volume Explosion of a Memory Heiner Müller DDR Ein Arbeitsbuch . This was followed by exhibitions with works by visual artists on Heiner Müller ( For Heiner Müller , Lisbon 1997) and exhibitions on his theatrical work ( The dead wait on the counter slant , Shizuoka 1999). Since the founding of the International Heiner Müller Society in 1997, he has been publishing the series "Drucksache NF" on their behalf, has been running Heiner Müller workshops with Klaudia Ruschkowski since 2001 and together with her publishes Heiner Müller workbooks ( Theater der Zeit ). At the same time he publishes essays. ( Deserts of Love , 2006).

The exchange with Heiner Müller led to collaboration with important GDR authors such as Thomas Brasch ( Lovely Rita , premier Berlin 1978, dramaturgy), Lothar Trolle ( Weltendung in Berlin , premier Berlin 1979, Kleines Fernsehspiel 1980, director) and Einar Schleef (cycle Die Nibelungen , Munich 1987, curator) and with directors such as BK Tragelehn ( Tartuffe, Frankfurt 1980, dramaturgy), Matthias Langhoff and Manfred Karge ( Das Fatzer-Fragment , Hamburg 1978, program).

Myth and Tragedy

His preoccupation with myths and Greek tragedy, which began in the eighties, is also influenced by the works of Heiner Müller and those of Richard Wagner . Realized in exhibitions, performances, books and texts. It all started in 1987 with the exhibition The Nibelungs - Pictures of Love, Betrayal and Doom in the Haus der Kunst in Munich. The examination of Wagner's work became a focal point in the work of Wolfgang Storch ( Time becomes space here , exhibition, Berlin and Brussels 1991; Jesus von Nazareth , premiere of the fragment, Leipzig 1997, director; Bayreuth space , Frankfurt am Main 2003).

Scenic work, exhibitions, work on film

Scenic works outside the theater were created and are created in collaboration with musicians and composers in order to create a space for texts through compositions in a place to be discovered: with Heiner Goebbels ( Prométhée , on a parking lot, Marseille 1991), with Eberhard Kloke and Christoph Nel ( The Ends of the World , a Journey through the Ruhr Area 1992), with Hannes Zerbe ( Die Edda , Festspielhaus Hellerau 1996), with Jean-Jacques Lemaitre ( First Dream , Augustinian Monastery Erfurt 1997), with Vladimir Tarasov ( Even if you return, Ulysses , Teatro Romano di Volterra, 2004; Kunstfest Weimar 2004; Akademie der Künste Berlin 2007).

As a curator, Wolfgang Storch realizes exhibitions with works by contemporary artists, in particular with Jannis Kounellis ( Kounellis and the theater , Delphi 2002), Magdalena Jetelová ( Filottete , Rome 2004), Mark Lammert ( printed matter No. 5 , 2000), Qin Yufen ( Die Rolle der Geliebten , Berlin 2006) and Alejandro Gomez de Tuddo ( In Mihiyotzin, in Motlahtoltzin , Volterra 2008). At the same time, he looks after artist books and catalogs.

In 2003 he curated the Götterdämmerung exhibition at the Deutsches Filmmuseum Berlin . Luchino Visconti. The German trilogy (with a video installation by Thomas Heise ). Since 2008, together with the Italian film critic Gianni Rondolino, he has led the Vigoni series of talks on film at the Villa Vigoni : dedicated in 2008 to the work of Roberto Rossellini , in 2009 to the work of Werner Schroeter , and in 2010 to the work of Pier Paolo Pasolini .

On behalf of the German Historical Museum Berlin, Wolfgang Storch and Klaudia Ruschkowski published Germany - Italy. Departure from dictatorship and war , published in March 2013 by Sandstein Verlag Dresden.

The Mediterranean Sea, Italy, Volterra

Wolfgang Storch has also lived in Volterra since 1992. The decision in favor of Italy also corresponded with the work on projects aimed at exchanges in the Mediterranean (Institut International du Théâtre de la Méditerranée, Tout est régi par l'éclair , Installation, Patras and Marseille 1991; House of World Cultures Berlin, Das White Sea . Literary explorations 1995/6; Maison Méditerranéenne des Sciences de l'Homme, Aix-en-Provence, Les représentationes de la Méditerranée, La Méditerranée allemande , 1998/2000). In 2001 Wolfgang Storch and Klaudia Ruschkowski founded the Associazione LE GUADALUPE spazio per le arti in Volterra and organize symposiums, seminars and workshops. In the Villa Le Guadalupe, which is open to artists and friends, preparatory work for theater, art and book projects takes place.

Publications (selection)

Books

  • Nikolai Gogol . Velber 1967, Munich 1972
  • Stage and visual arts in the 20th century . documented by WS, ed. by Henning Rischbieter , Velber 1968
  • Vladimir Mayakovsky . Velber 1969, Munich 1973
  • Pieces from the twenties . (Ed.), Frankfurt a. M. 1977
  • Off-road vehicle 1 Berlin. Heiner Müller on his 50th birthday . (Ed.), Berlin 1979
  • Georg Schrimpf and Maria Uhden. Life and work . (Ed.), Berlin 1985
  • Victory peace. Politics with a German myth . with Herfried Münkler , Berlin 1988
  • Explosion of A Memory Heiner Müller DDR A workbook . (Ed.), Berlin 1989
  • Franz Jung. Works 7. How much longer? Plays . (Ed.), Hamburg 1989
  • A German dream cycle for 1990 . (Ed.), Bochum, Berlin 1990
  • The Ring on the Rhine . (Ed.), Düsseldorf, Berlin 1991
  • The language of the landscape . Edited with Carmen Schäfer, Stuttgart 1993
  • Bertolt Brecht après la chute . (Ed.), Paris 1993
  • Prometheus myth . Edited with Burghard Damerau , Leipzig 1995
  • Orpheus myth . (Ed.), Leipzig 1997
  • The white sea. Exploring the Mediterranean . Edited with B.-U. Endriss and Bernd M. Scherer, Frankfurt / M. 1998
  • The Bayreuth area. An order from the future . (Ed.), Frankfurt / M. 2002
  • Mania Thebaia. The Theban cycle . (Ed.), Düsseldorf 2002, German and English output
  • The gap in the system. Philoctetes Heiner Müller workbook . Edited with Klaudia Ruschkowski, Berlin 2005
  • Jannis Kounellis, The Wind. Texts and drawings . (Ed.), Hamburg 2006
  • Sire, that was me. Life of Gundling Friedrich von Prussia Lessing's sleep dream scream. Heiner Müller workbook . Edited with Klaudia Ruschkowski, Berlin 2007
  • Working for Paradise. The wage pusher. Heiner Müller workbook . Edited with Klaudia Ruschkowski and Peter Kammerer, Berlin 2011
  • Germany - Italy. Departure from dictatorship and war . Edited with Klaudia Ruschkowski on behalf of the German Historical Museum Berlin, Dresden 2013

Exhibition catalogs

  • Material Brecht - Contradictions 1968-76 . Austin, Texas, 4th Congress of the International Brecht Society, 1976
  • The Nibelungs - images of love, betrayal and downfall . House of Art, Munich 1987
  • In search of the grail . Musiktheater Amsterdam, 1990 Akademie der Künste zu Berlin, 1991
  • Time becomes space here - The Symbolists and Richard Wagner . Akademie der Künste zu Berlin, Marstall, 1991, Maison du spectacle-Bellone, Théâtre de la Monnaie, Brussels 1991
  • The scenic eye - visual arts and theater . Institute for Foreign Relations, Berlin 1996 - world tour until 2008
  • For Heiner Müller . Gilles Aillaud , Christian Boltanski , Rebecca Horn , Magdalena Jetelová, Jannis Kounellis, Mark Lammert, Pedro Cabrita Reis , Centro Cultural de Belém, Lisbon 1997
  • The Eternal Well. Sculptures from Thuringian churches, works by Adalbert Trillhaase and Gerhard Altenbourg , Gallery Haus zum Güldenen Krönbacken, European Cultural Center in Thuringia, Erfurt 1997
  • Jannis Kounellis and the Theater . European Cultural Center of Delphi, 2002
  • Götterdämmerung. Luchino Visconti. The German trilogy . German Film Museum Berlin, 2003
  • Filottete. Jannis Kounellis e Magdalena Jetelova . Galleria Opera Paese, Rome, 2004, with Maurizio Marrone and Klaudia Ruschkowski

Periodicals

  • Printed matter NF , ed. on behalf of the International Heiner Müller Society, Richter Verlag Düsseldorf

No. 1 Paul Virilio , 1999, No. 2 Jannis Kounellis, 2000, No. 3 Wolfgang Rihm , 2000, No. 4 Boris Michailow , 2000, No. 5 Mark Lammert, 2000, No. 6 Laymert Garcia dos Santos , Brazil, 2001. In Edition Nautilus, Hamburg: No. 7 Etel Adnan , 2005

Essays

  • Letter to Marisa Fabbri . (To Heiner Müller) In: Kalkfell, Berlin 1996. Ital. In: Pioggia Obliqua No. 14, Firenze 1999
  • Letter to Zaneta Vangeli . (To Einar Schleef). In: Bild der Bühne, Berlin 1998
  • Lettre au poète Adonis . In: Les représentations de la Méditerranée. La Méditerranée allemande, Paris 2000. Ital. In: Rappresentare il Mediterraneo. Lo sguardo tedesco, Messina 2002
  • Total work of art . In: Historical dictionary of basic aesthetic terms, Vol. 2, Stuttgart-Weimar 2001
  • Ecce Homo . In: Einar Schleef. Workbook, Berlin 2002
  • Heiner Müller and the fine arts . In: Heiner Müller-Handbuch, Stuttgart-Weimar 2003
  • Antigone or the appearance of Antitheos in Hölderlin, Wagner and Nietzsche . In: AufBrüche, Berlin 2004
  • "The robbers" and "Antigone", "The gods of Greece", "Bread and wine" . In: Aesthetics and Communication, volume 128, spring 2005
  • Deserts of love. Heiners Müller's "obituary notice" . In: Lettre International 71, Winter 2005
  • The tragedy comes out empty-handed . Afterword in: Heiner Müller / Sophokles, “Philoktet”, Frankfurt / M. 2006
  • Viscontis Germany . In: Lettre International 78, Winter 2007
  • Ivan Bazak's houses . In: Ivan Bazak. Houses, Cologne 2008
  • Dance of Death and Rose Festival. The Prussian tragedy . In: Lettre International 84, spring 2009
  • Seeing means killing the pictures . In: Theatrographie. Heiner Müller's Theater of Writing, Berlin 2009
  • Paths to Fidelio . In: Drafts from the stage design class for Ludwig van Beethoven's opera, Kunstakademie Düsseldorf, catalog Kunstverein Recklinghausen 2009
  • Letter to Peter Handke. On the occasion of Dimiter Gotscheff's production of “Immer noch Sturm” . In: Dimiter Gotscheff. Dark that blinds us. Workbook 2013, Berlin 2013
  • The Medievalist and the Encyclopedist. On the work of Peter Wapnewski and Karlheinz Barck . In: Weimar Contributions, 4/2014
  • Program dispute in Hamburg 1978 . In: “Your Kleist! Do you play it? ", Kleist-Museum, Frankfurt (Oder) 2015

Web links

personal data
SURNAME Storch, Wolfgang
BRIEF DESCRIPTION German dramaturge, curator, director and author
DATE OF BIRTH 1943
PLACE OF BIRTH Berlin