View allAll Photos Tagged stage_design
nstallation at the Residency Schauspiel Leipzig
size: 9 m x 5 m x 3m
material : cellular plastic sheets / Kapa
the Installation „Skeleton“ was produced as a stage design for the dance-performance „Spacekraft“ at the Residency Schauspiel Leipzig . The focus of thiss culpture is the investigation of unique movable structures by the arrangement of several splitter and square or polygonal edged shapes. The interdisciplinary cast of Spacekraft explores a hyper-real world drawn from futuristic fantasies of our architectural environment.
„Spacekraft“ a collaboration between Choreographer Melanie Lane / Musician Chris Clark / Me.
The Nazi government had plans to send a rocket from Germany to New York, called "Projektil Amerika." Here is a scaled version flight of that two-stage design, the fins of the A-9 upper stage protrude from the interstage coupler to the A-10 booster. The upper stage would have to follow a string of radio-beacons deployed on submarines spread across the Atlantic, and for its final guidance, the rocket could use a transmitter installed by Nazi agents in a window of a high-rise hotel in the heart of Manhattan. This was quite difficult, and so the design moved to a manned version with a kamikaze pilot. Stranger than Dr. Strangelove, the first flight was targeted for 1946.
This reenactment brought the upper stage in ballistic, plowing into the ground between a couple photographers. (more below)
Roberto Montenegro 'The Double' 1938, Museum of Art, Philadelphia, Pennsylvania
Mexican painter, printmaker, illustrator and stage designer. In 1903 he began studying painting in Guadalajara under Félix Bernardelli, an Italian who had established a school of painting and music there, and he produced his first illustrations for Revista moderna, a magazine that promoted the Latin American modernist movement and for which his cousin, the poet Amado Nervo, wrote. In 1905 he enrolled at the Escuela Nacional de Arte in Mexico City, where Diego Rivera was also studying, and won a grant to study in Europe. After two years in Madrid, Montenegro moved in 1907 to Paris, where he continued his studies and had his first contact with Cubism, meeting Picasso, Braque and Gris.
After a short stay in Mexico, Montenegro returned to Paris. At the outbreak of World War I he moved to Barcelona and from there to Mallorca, where he lived as a fisherman for the next four years. During his stay in Europe he assimilated various influences, in particular from Symbolism, from Art Nouveau (especially Aubrey Beardsley) and from William Blake.
On his return to Mexico, Montenegro worked closely with José Vasconcelos, Secretary of State for Public Education during the presidency of Alvaro Obregón in the early 1920s, faithfully following his innovative ideas on murals and accompanying him on journeys in Mexico and abroad. He was put in charge of the Departamento de Artes Plásticas in 1921 and was invited by Vasconcelos to ‘decorate’ the walls of the former convent, the Colegio Máximo de S Pedro y S Pablo in Mexico City. The first of these works, executed in 1922, consisted of the mural Tree of Life , relating the origin and destiny of man, and two designs for richly ornamented stained-glass windows influenced by popular art: Guadalajara Tap-dance and The Parakeet-seller. They were followed by two further murals in the same building: the Festival of the Holy Cross (1923–4), representing the popular festival of 3 May celebrated by bricklayers and stonemasons, and Resurrection (1931–3), with a geometric composition bearing a slight Cubist influence. Further murals followed, including Spanish America (1924; Mexico City, Bib. Ibero-Amer. & B.A.), an allegory of the historical and spiritual union of Latin America in the form of a map, and The Story, also known as Aladdin’s Lamp (1926; Mexico City, Cent. Escolar Benito Juárez), a formally designed painting with Oriental figures similar in style to a mural made for Vasconcelos’s private offices.
Although Montenegro claimed to be a ‘subrealist’ rather than a Surrealist, in his easel paintings he mixed reality and fantasy; two such works, which fall well within the bounds of Surrealism, were shown in 1940 at the International Exhibition of Surrealism held at the Galería de Arte Mexicano in Mexico City. In his later work Montenegro evolved an abstract style, although he never lost his interest in popular, pre-Hispanic and colonial art. He was also a fine portrait painter, and from the 1940s to the 1960s he produced a splendid series of self-portraits in which he is shown reflected in a convex mirror, thus combining elements of Mannerism and popular art. He illustrated books, made incursions into stage design, working for both the ballet and the theatre, and in 1934 created the Museo de Arte Popular in the recently inaugurated Palacio de Bellas Artes in Mexico City, becoming its first director.
Leonor Morales
From Grove Art Online
© 2009 Oxford University Press
Bartabas: Golgota
Acclaimed equestrian theatre artist Bartabas returns to the Sadler’s Wells stage accompanied by contemporary flamenco dancer Andrés Marín, four horses and a donkey, to present the UK Premiere of Golgota. 14-21 March.
Credits:
Creation, stage design, direction: Bartabas
Choreography, performance: Andrés Marín & Bartabas
Horses: Horizonte, Le Tintoret, Soutine, Champagne & Lautrec the donkey
Music: Tomás Luis de Victoria, motets for solo voice
Countertenor: Christophe Baska
Cornet: Adrien Mabire
Lute: Marc Wolff
Actor: William Panza
Costumes: Sophie Manach & Yannick Laisné
Props: Sébastien Puech
Scenery: Les Ateliers Jipanco
Lights: Laurent Matignon
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Oil on canvas; 115 x 136.8 cm.
By the time László Moholy-Nagy turned towards painting after graduating from law school and developed his own abstract style influenced by Malewitsch and El Lissitzky, it was inevitable that he would become one of the most important artists of Constructivism. He soon exposed himself in Hungary as the founder of the artist group "Ma", but left his home country after the failure of the revolution.
He moved to Berlin In 1920 where Gropius noticed him and invited him to join the "Bauhaus" in 1923. There Moholy-Nagy ran the metal class but also worked in all other areas of design in which he was equally influential. The artist published his ideas in the series of Bauhaus books, for example "Malerei, Fotografie, Film" (1925). Moholy-Nagy wanted an "experimental, functional artist […] who considers art as a laboratory for new forms of expression which were then supposed to be employed in all areas of modern life" (Karin Thomas).
The expectations of the age of technology and his new media led Moholy-Nagy to a functional use of Abstraction, which he managed to show in all areas of design and which guided him through different phases of experimenting. His varied oeuvre ranges from painting, photography, film, design and stage design to experiments with photograms which considerably influenced the development of light art and kinetic art. László Moholy-Nagy left the "Bauhaus" in 1928 together with Gropius and worked in Berlin as a stage designer, exhibition organiser, typographer and film producer. He emigrated to the USA in 1937 and ran the "New Bauhaus" in Chicago. Moholy-Nagy opened his own art institute, the "School of Design", in Chicago in 1938 and enlarged it in the following years by adding the faculties economics, psychology and information theory.
László Moholy-Nagy became severely ill and died one year later, in 1946.
Lego Mars Rover Curiosity and Sky Crane, Descent Stage, designed by Stephen Pakbaz, scene built with SR3D, strings generated by MLCad/LSynth, Povray Render
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 3239, 1968. Photo: DEFA / Dietrich.
Annekathrin Bürger (1937) is a German stage, film, and television actress. Bürger was a prominent actress in East Germany appearing in a number of films made by the state-run DEFA film studios as well as in television series such as Wolf Among Wolves (1965) set in 1920s Berlin. In 1972 she played the female lead in the Ostern Tecumseh (1972).
Annekathrin Bürger was born Annekathrin Rammelt in 1937 in
Berlin-Charlottenburg, Nazi Germany. Her father was the animal draftsman and illustrator Heinz Rammelt. She grew up in Hornhausen, trained as an advertising designer in Bernburg, and worked as a stage design assistant, prop master, and extra at the Carl-Maria-von-Weber-Theater there. She failed the entrance exam for the State Drama School in Berlin. In the summer of 1955, she met Czech film people in Berlin and played her first small role as a pioneer leader in the Czech-German short film Gebirge und Meer/Mountains and sea (Wolfgang Bartsch, Bohumil Vosahlik, 1955). A year later she appeared in the East German neo-realist romantic drama Eine Berliner Romanze/A Berlin Romance (Gerhard Klein, 1956), a film about youth urban life in the divided city of Berlin. It was produced by the DEFA, the state-owned East German studio. Annekathrin Bürger's co-stars were Ulrich Thein and Uwe-Jens Pape. It is still amongst DEFA's best-known films. Bürger studied acting at the Potsdam Film and Television Academy from 1957 to 1960. From 1959 to 1960 she was engaged at the Deutsches Theater in Berlin. She also starred in another youth film, Reportage 57 (János Veiczi, 1959), and the romantic comedy Verwirrung der Liebe/Love's Confusion (Slátan Dudow, 1959), both with Willi Schrade. Love's Confusion was Dudow's last film and the screen debut of Angelica Domröse. Influenced by the relaxed political climate ushered with the Khrushchev Thaw, the picture was unprecedentedly libertine in regards to sexuality. It became a huge hit.
During the early 1960s, Annekathrin Bürger appeared in a series of DEFA productions, such as Septemberliebe/September Love (Kurt Maetzig, 1961) with Doris Abesser and Ulrich Thein. She also starred in the first joint Soviet–East German film, Pyat Dney, Pyat Nochei/Fünf Tage, Fünf Nächte/Five Days, Five Nights ( Lev Arnshtam, Heinz Thiel, 1961) with Wilhelm Koch-Hooge. The picture's plot was inspired by the recovery of the art of the Old Masters Picture Gallery through the hands of Soviet troops in 1945. The art collection was then taken to the USSR, where it was kept until being returned to the Dresden Gallery in 1960. Five Days, Five Nights sold more than two million tickets in the German Democratic Republic. Then she starred in the romantic war drama Königskinder/Star-Crossed Lovers (Frank Beyer, 1962) with Armin Mueller-Stahl, and in the drama Das zweite Gleis/The Second Track (Joachim Kunert, 1962), as the daughter of Albert Hetterle. It is the only DEFA film looking at Nazi Germany history in East Germany. From 1963 to 1965 she was a member of the DFF, from 1965 to 2003 a member of the ensemble of the Volksbühne Berlin. Since 1968 she has only seldom been used in supporting roles in the theatre.
Bürger played numerous roles in DEFA and DFF films including the Ostern (Red Western) Tecumseh (Hans Kratzert, 1972) opposite Gojko Mitić and Rolf Römer. It is part of a popular string of films starring the Yugoslav actor Gojko Mitić which, in line with the policies of Communist East Germany, attempted to present a more critical, but also more realistic, view of American expansion to the West than was characterised by Hollywood. The film, along with others, was also made partly in response to the successful series of Karl May films made in West Germany. The film depicts the life of the Native American leader Tecumseh (1768–1813), including his role in Tecumseh's War and his later death in the War of 1812 while fighting with the British against the United States. On television, she played a supporting role as a laundromat and bar manager in the popular series Tatort Leipzig with Peter Sodann, until 2005. She was also involved in cultural policy and protested against Wolf Biermann's expatriation and was committed to maintaining Charlotte von Mahlsdorf's Wilhelminian-style museum. From 1990 to 1997 Bürger was chairman of the Congress of the National Citizens Movement. In 1993 she and her husband founded the orphans on the Don association. In the same year, the documentary film Children of the Don was made about it. Annekathrin Bürger was first married to the actor and director Ulrich Thein and was married to her colleague Rolf Römer from 1966 until his death in 2000. Annekathrin Bürger lives in Berlin-Köpenick.
Sources: Wikipedia (English and German), and IMDb.
And, please check out our blog European Film Star Postcards.
Salzburg (Austria) '24
Stage design by Alfred Roiller (Vienna, 1900 & Berlin, 1902)
Frank Eugene (19 September 1865 – 16 December 1936) was an American-born photographer who was a founding member of the Photo-Secession and one of the first university-level professors of photography in the world.
Eugene was born in New York City as Frank Eugene Smith. His father was Frederick Smith, a German baker who changed his last name from Schmid after moving to America in the late 1850s. His mother was Hermine Selinger Smith, a singer who performed in local German beer halls and theaters.[1]
About 1880 Eugene began to photograph for amusement, possibly while he was attending the City College of New York.
In 1886 he moved to Munich in order to attends the Bayrische Akademie der Bildenden Künste (Bavarian Academy of Fine Arts). He studied drawing and stage design. After he graduated he started a career as a theatrical portraitist, drawing portraits of actors and actresses. He continued his interest in photography, although little is known of his teachers or influences.
He returned to the United States, and in 1899 he exhibited photographs at the Camera Club in New York under name Frank Eugene. The critic Sadakichi Hartmann wrote a review of the show, saying “It is the first time that a truly artistic temperament, a painter of generally recognized accomplishments and ability asserts itself in American photography.”[2]
A year later he was elected to The Linked Ring, and fourteen of his prints were shown that year in a major London exhibition. Already at this stage in his career he had developed a highly distinctive style that was influenced by his training as a painter. He assertively manipulated his negatives with both scratches and brush strokes, creating prints that had the appearance of a blend between painting and photography. When his prints were shown at the Camera Club in New York, one reviewer commented that his work was "unphotographic photography."[3]
In the summer of 1900 an entire issue of Camera Notes was devoted to his art, an honor accorded only a few other photographers.
In early 1901 he traveled to Egypt. He returned a few months later and met with photographer F. Holland Day in Narragansett, R.I., during the summer.
In late 1902 Eugene becomes a Founder of the Photo-Secession and a member of its governing Council.
In 1904 one gravure published in Camera Work, No. 5 (January).
In 1906 Eugene moved permanently to Germany. He was recognized there both as a painter and a photographer, but initially he worked primarily with prominent painters such as Fritz von Uhde, Hendrik Heyligers, Willi Geiger, and Franz Roh. He photographed many of these and other artists at the same time. He also designed tapestries that he used as backgrounds in his photographs.[4]
A year later he became a lecturer on pictorial photography at Munich’s Lehr-und Versuchs-anstalt fur Photo graphie und Reproduktions-technik (Teaching and Research Institute for Photography and the Reproductive Processes). At this point, photography rather than painting became his primary interest. He experimented with the new color process of Autochromes, and three of his color prints are exhibited at Alfred Stieglitz’s Photo-Secession Galleries in New York.
In 1909 two more of his gravures were published in Camera Work, No. 25 (January).
In 1910 twenty-seven of his photographs were exhibited at a major exhibition in Buffalo, New York. The catalog for this show described Eugene as the first photographer to make successful platinum prints on Japan tissue. Ten more of his gravures published in Camera Work, No.30 (April), and fourteen additional images appear in No.31 (July).
More than any other photographer of the early 20th century, Eugene was recognized as the master of the manipulated image. Photographic historian Weston Naef described his style this way:
"The very boldness with which Eugene manipulated the negative by scratching and painting forced even those with strong sympathy for the purist line of thinking like White, Day and Stieglitz to admire Eugene's particular touch...[he] created a new syntax for the photographic vocabularity, for no one before him had hand-worked negatives with such painterly intentions and a skill unsurpassed by his successors."[4]
In 1913 he was appointed Royal Professor of Pictorial Photography by the Royal Academy of the Graphic Arts of Leipzig. This professorship, created especially for Eugene, is the first chair for pictorial photography anywhere in the world.[4]
Two years later Eugene gave up his American citizenship and became a citizen of Germany. He continued teaching for many years and was head of the photography department at the Royal Academy until it closed in 1927.[1]
Eugene died of heart failure in Munich in 1936.
Bartabas: Golgota
Acclaimed equestrian theatre artist Bartabas returns to the Sadler’s Wells stage accompanied by contemporary flamenco dancer Andrés Marín, four horses and a donkey, to present the UK Premiere of Golgota. 14-21 March.
Credits:
Creation, stage design, direction: Bartabas
Choreography, performance: Andrés Marín & Bartabas
Horses: Horizonte, Le Tintoret, Soutine, Champagne & Lautrec the donkey
Music: Tomás Luis de Victoria, motets for solo voice
Countertenor: Christophe Baska
Cornet: Adrien Mabire
Lute: Marc Wolff
Actor: William Panza
Costumes: Sophie Manach & Yannick Laisné
Props: Sébastien Puech
Scenery: Les Ateliers Jipanco
Lights: Laurent Matignon
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Steel shot-activated targets during a PG Practical Shoooters - www.facebook.com/pgpracticalshooters (PGPS) IDPA Match at the Protective Services Training Academy (PSTA)
Oil on canvas.
Mexican painter, printmaker, illustrator and stage designer. In 1903 he began studying painting in Guadalajara under Félix Bernardelli, an Italian who had established a school of painting and music there, and he produced his first illustrations for Revista moderna, a magazine that promoted the Latin American modernist movement and for which his cousin, the poet Amado Nervo, wrote. In 1905 he enrolled at the Escuela Nacional de Arte in Mexico City, where Diego Rivera was also studying, and won a grant to study in Europe. After two years in Madrid, Montenegro moved in 1907 to Paris, where he continued his studies and had his first contact with Cubism, meeting Picasso, Braque and Gris.
After a short stay in Mexico, Montenegro returned to Paris. At the outbreak of World War I he moved to Barcelona and from there to Mallorca, where he lived as a fisherman for the next four years. During his stay in Europe he assimilated various influences, in particular from Symbolism, from Art Nouveau (especially Aubrey Beardsley) and from William Blake.
On his return to Mexico, Montenegro worked closely with José Vasconcelos, Secretary of State for Public Education during the presidency of Alvaro Obregón in the early 1920s, faithfully following his innovative ideas on murals and accompanying him on journeys in Mexico and abroad. He was put in charge of the Departamento de Artes Plásticas in 1921 and was invited by Vasconcelos to ‘decorate’ the walls of the former convent, the Colegio Máximo de S Pedro y S Pablo in Mexico City. The first of these works, executed in 1922, consisted of the mural Tree of Life , relating the origin and destiny of man, and two designs for richly ornamented stained-glass windows influenced by popular art: Guadalajara Tap-dance and The Parakeet-seller. They were followed by two further murals in the same building: the Festival of the Holy Cross (1923–4), representing the popular festival of 3 May celebrated by bricklayers and stonemasons, and Resurrection (1931–3), with a geometric composition bearing a slight Cubist influence. Further murals followed, including Spanish America (1924; Mexico City, Bib. Ibero-Amer. & B.A.), an allegory of the historical and spiritual union of Latin America in the form of a map, and The Story, also known as Aladdin’s Lamp (1926; Mexico City, Cent. Escolar Benito Juárez), a formally designed painting with Oriental figures similar in style to a mural made for Vasconcelos’s private offices.
Although Montenegro claimed to be a ‘subrealist’ rather than a Surrealist, in his easel paintings he mixed reality and fantasy; two such works, which fall well within the bounds of Surrealism, were shown in 1940 at the International Exhibition of Surrealism held at the Galería de Arte Mexicano in Mexico City. In his later work Montenegro evolved an abstract style, although he never lost his interest in popular, pre-Hispanic and colonial art. He was also a fine portrait painter, and from the 1940s to the 1960s he produced a splendid series of self-portraits in which he is shown reflected in a convex mirror, thus combining elements of Mannerism and popular art. He illustrated books, made incursions into stage design, working for both the ballet and the theatre, and in 1934 created the Museo de Arte Popular in the recently inaugurated Palacio de Bellas Artes in Mexico City, becoming its first director.
Leonor Morales
From Grove Art Online
© 2009 Oxford University Press
Frank Eugene (19 September 1865 – 16 December 1936) was an American-born photographer who was a founding member of the Photo-Secession and one of the first university-level professors of photography in the world.
Eugene was born in New York City as Frank Eugene Smith. His father was Frederick Smith, a German baker who changed his last name from Schmid after moving to America in the late 1850s. His mother was Hermine Selinger Smith, a singer who performed in local German beer halls and theaters.[1]
About 1880 Eugene began to photograph for amusement, possibly while he was attending the City College of New York.
In 1886 he moved to Munich in order to attends the Bayrische Akademie der Bildenden Künste (Bavarian Academy of Fine Arts). He studied drawing and stage design. After he graduated he started a career as a theatrical portraitist, drawing portraits of actors and actresses. He continued his interest in photography, although little is known of his teachers or influences.
He returned to the United States, and in 1899 he exhibited photographs at the Camera Club in New York under name Frank Eugene. The critic Sadakichi Hartmann wrote a review of the show, saying “It is the first time that a truly artistic temperament, a painter of generally recognized accomplishments and ability asserts itself in American photography.”[2]
A year later he was elected to The Linked Ring, and fourteen of his prints were shown that year in a major London exhibition. Already at this stage in his career he had developed a highly distinctive style that was influenced by his training as a painter. He assertively manipulated his negatives with both scratches and brush strokes, creating prints that had the appearance of a blend between painting and photography. When his prints were shown at the Camera Club in New York, one reviewer commented that his work was "unphotographic photography."[3]
In the summer of 1900 an entire issue of Camera Notes was devoted to his art, an honor accorded only a few other photographers.
In early 1901 he traveled to Egypt. He returned a few months later and met with photographer F. Holland Day in Narragansett, R.I., during the summer.
In late 1902 Eugene becomes a Founder of the Photo-Secession and a member of its governing Council.
In 1904 one gravure published in Camera Work, No. 5 (January).
In 1906 Eugene moved permanently to Germany. He was recognized there both as a painter and a photographer, but initially he worked primarily with prominent painters such as Fritz von Uhde, Hendrik Heyligers, Willi Geiger, and Franz Roh. He photographed many of these and other artists at the same time. He also designed tapestries that he used as backgrounds in his photographs.[4]
A year later he became a lecturer on pictorial photography at Munich’s Lehr-und Versuchs-anstalt fur Photo graphie und Reproduktions-technik (Teaching and Research Institute for Photography and the Reproductive Processes). At this point, photography rather than painting became his primary interest. He experimented with the new color process of Autochromes, and three of his color prints are exhibited at Alfred Stieglitz’s Photo-Secession Galleries in New York.
In 1909 two more of his gravures were published in Camera Work, No. 25 (January).
In 1910 twenty-seven of his photographs were exhibited at a major exhibition in Buffalo, New York. The catalog for this show described Eugene as the first photographer to make successful platinum prints on Japan tissue. Ten more of his gravures published in Camera Work, No.30 (April), and fourteen additional images appear in No.31 (July).
More than any other photographer of the early 20th century, Eugene was recognized as the master of the manipulated image. Photographic historian Weston Naef described his style this way:
"The very boldness with which Eugene manipulated the negative by scratching and painting forced even those with strong sympathy for the purist line of thinking like White, Day and Stieglitz to admire Eugene's particular touch...[he] created a new syntax for the photographic vocabularity, for no one before him had hand-worked negatives with such painterly intentions and a skill unsurpassed by his successors."[4]
In 1913 he was appointed Royal Professor of Pictorial Photography by the Royal Academy of the Graphic Arts of Leipzig. This professorship, created especially for Eugene, is the first chair for pictorial photography anywhere in the world.[4]
Two years later Eugene gave up his American citizenship and became a citizen of Germany. He continued teaching for many years and was head of the photography department at the Royal Academy until it closed in 1927.[1]
Eugene died of heart failure in Munich in 1936.
Hellingly Asylum,
Standing on the stage
Designed by George Thomas Hine and built in 1903, it closed it's doors in 1994.
A return visit to this amazing place
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 131/70, 1970. Photo: Linke.
Annekathrin Bürger (1937) is a German stage, film, and television actress. Bürger was a prominent actress in East Germany appearing in a number of films made by the state-run DEFA film studios as well as in television series such as Wolf Among Wolves (1965) set in 1920s Berlin. In 1972 she played the female lead in the Ostern Tecumseh (1972).
Annekathrin Bürger was born Annekathrin Rammelt in 1937 in
Berlin-Charlottenburg, Nazi Germany. Her father was the animal draftsman and illustrator Heinz Rammelt. She grew up in Hornhausen, trained as an advertising designer in Bernburg, and worked as a stage design assistant, prop master, and extra at the Carl-Maria-von-Weber-Theater there. She failed the entrance exam for the State Drama School in Berlin. In the summer of 1955, she met Czech film people in Berlin and played her first small role as a pioneer leader in the Czech-German short film Gebirge und Meer/Mountains and sea (Wolfgang Bartsch, Bohumil Vosahlik, 1955). A year later she appeared in the East German neo-realist romantic drama Eine Berliner Romanze/A Berlin Romance (Gerhard Klein, 1956), a film about youth urban life in the divided city of Berlin. It was produced by the DEFA, the state-owned East German studio. Annekathrin Bürger's co-stars were Ulrich Thein and Uwe-Jens Pape. It is still amongst DEFA's best-known films. Bürger studied acting at the Potsdam Film and Television Academy from 1957 to 1960. From 1959 to 1960 she was engaged at the Deutsches Theater in Berlin. She also starred in another youth film, Reportage 57 (János Veiczi, 1959), and the romantic comedy Verwirrung der Liebe/Love's Confusion (Slátan Dudow, 1959), both with Willi Schrade. Love's Confusion was Dudow's last film and the screen debut of Angelica Domröse. Influenced by the relaxed political climate ushered with the Khrushchev Thaw, the picture was unprecedentedly libertine in regards to sexuality. It became a huge hit.
During the early 1960s, Annekathrin Bürger appeared in a series of DEFA productions, such as Septemberliebe/September Love (Kurt Maetzig, 1961) with Doris Abesser and Ulrich Thein. She also starred in the first joint Soviet–East German film, Pyat Dney, Pyat Nochei/Fünf Tage, Fünf Nächte/Five Days, Five Nights ( Lev Arnshtam, Heinz Thiel, 1961) with Wilhelm Koch-Hooge. The picture's plot was inspired by the recovery of the art of the Old Masters Picture Gallery through the hands of Soviet troops in 1945. The art collection was then taken to the USSR, where it was kept until being returned to the Dresden Gallery in 1960. Five Days, Five Nights sold more than two million tickets in the German Democratic Republic. Then she starred in the romantic war drama Königskinder/Star-Crossed Lovers (Frank Beyer, 1962) with Armin Mueller-Stahl, and in the drama Das zweite Gleis/The Second Track (Joachim Kunert, 1962), as the daughter of Albert Hetterle. It is the only DEFA film looking at Nazi Germany history in East Germany. From 1963 to 1965 she was a member of the DFF, from 1965 to 2003 a member of the ensemble of the Volksbühne Berlin. Since 1968 she has only seldom been used in supporting roles in the theatre.
Bürger played numerous roles in DEFA and DFF films including the Ostern (Red Western) Tecumseh (Hans Kratzert, 1972) opposite Gojko Mitić and Rolf Römer. It is part of a popular string of films starring the Yugoslav actor Gojko Mitić which, in line with the policies of Communist East Germany, attempted to present a more critical, but also more realistic, view of American expansion to the West than was characterised by Hollywood. The film, along with others, was also made partly in response to the successful series of Karl May films made in West Germany. The film depicts the life of the Native American leader Tecumseh (1768–1813), including his role in Tecumseh's War and his later death in the War of 1812 while fighting with the British against the United States. On television, she played a supporting role as a laundromat and bar manager in the popular series Tatort Leipzig with Peter Sodann, until 2005. She was also involved in cultural policy and protested against Wolf Biermann's expatriation and was committed to maintaining Charlotte von Mahlsdorf's Wilhelminian-style museum. From 1990 to 1997 Bürger was chairman of the Congress of the National Citizens Movement. In 1993 she and her husband founded the orphans on the Don association. In the same year, the documentary film Children of the Don was made about it. Annekathrin Bürger was first married to the actor and director Ulrich Thein and was married to her colleague Rolf Römer from 1966 until his death in 2000. Annekathrin Bürger lives in Berlin-Köpenick.
Sources: Wikipedia (English and German), and IMDb.
And, please check out our blog European Film Star Postcards.
Bartabas: Golgota
Acclaimed equestrian theatre artist Bartabas returns to the Sadler’s Wells stage accompanied by contemporary flamenco dancer Andrés Marín, four horses and a donkey, to present the UK Premiere of Golgota. 14-21 March.
Credits:
Creation, stage design, direction: Bartabas
Choreography, performance: Andrés Marín & Bartabas
Horses: Horizonte, Le Tintoret, Soutine, Champagne & Lautrec the donkey
Music: Tomás Luis de Victoria, motets for solo voice
Countertenor: Christophe Baska
Cornet: Adrien Mabire
Lute: Marc Wolff
Actor: William Panza
Costumes: Sophie Manach & Yannick Laisné
Props: Sébastien Puech
Scenery: Les Ateliers Jipanco
Lights: Laurent Matignon
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Circa: The Return, LIMF 2016
The Australian company Circa in The Return at the Barbican Theatre as part of London International Mime Festival. 27-31 Jan.
Created by Yaron Lifschitz with Quincy Grant and the Circa ensemble
Composers: Claudio Monteverdi, Quincy Grant, John Barber, Jakub Jankowski and Cornel Wilczek
Directed by Yaron Lifschitz
Musical supervision by Quincy Grant
Musical direction by Natalie Murray Beale
Technical direction and lighting by Jason Organ
Costumes by Libby McDonnell
Stage design by Jason Organ and Yaron Lifschitz
Circa Ensemble: Nathan Boyle, Daniel O’Brien,
Nicole Faubert, Bridie Hooper, Brittannie Portelli, Duncan West
Tenor: Robert Murray
Mezzo Soprano Kate Howden
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Bartabas: Golgota
Acclaimed equestrian theatre artist Bartabas returns to the Sadler’s Wells stage accompanied by contemporary flamenco dancer Andrés Marín, four horses and a donkey, to present the UK Premiere of Golgota. 14-21 March.
Credits:
Creation, stage design, direction: Bartabas
Choreography, performance: Andrés Marín & Bartabas
Horses: Horizonte, Le Tintoret, Soutine, Champagne & Lautrec the donkey
Music: Tomás Luis de Victoria, motets for solo voice
Countertenor: Christophe Baska
Cornet: Adrien Mabire
Lute: Marc Wolff
Actor: William Panza
Costumes: Sophie Manach & Yannick Laisné
Props: Sébastien Puech
Scenery: Les Ateliers Jipanco
Lights: Laurent Matignon
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Electrobeach Music Festival 2016 brings the hottest electronic DJs from around the globe to the sunny Mediterranean coast in France's extreme south. There, they will be joined by 150,000 ravers raring to party for days and nights to the very best in EDM and trance.
Set in the shadow of the famous Lydia - a grounded former cruise ship that juts out of the sands - only the finest DJs will be allowed in, with past names including Tiësto, Armin Van Buuren and Alesso, who will hit the decks amongst overwhelming visuals and stage design, setting Electrobeach firmly at the table with other European dance heavyweights.
The city of Port Barcarès is going to host Electrobeach Music Festival 2016 once again.
For its 7th edition, the Electrobeach Festival has decided to take it one step further by making it 3 days long. By doing so, it plans on entering the very small circle of festivals that gather more than 150 000 people.
Small fishing village until the 60s ,
Port-Barcarès went out of the ground under the leadership of the "Mission Racine". The objective was to develop the south coast of France to accommodate massively tourists. Port-Barcarès turned into one of the most popular family resorts. Nowadays, during the summer there are almost 120,000 people staying in Port- Barcarès.
Port Barcarès, a high quality resort: anxious to meet tourism demand of the third millennium, the city of Port-Barcarès saw its endeavor rewarded in many ways. Blue Flag for beaches and ports (A quality assessment for its beaches, bathing water and the environment of the port), the first regional prize for flowering plants...
By day, the crystal waters of the eight-kilometre coastline provide an idyllic setting for festival goers to absorb the rays of guaranteed sunshine. Port Barcarès is the resort that offers the greater Free Wifi coverage of Europe with all beaches equipped, harbor and all the interests points of the city.
Boasting out of this world natural beauty, there is plenty to see and do in the town and surrounding areas of Port-Barcarès in addition to Electrobeach Music Festival 2016. With acres of beautiful woodland, miles of creeks and cliffs surrounded by the blue waters of the Mediterranean Sea, Port-Barcarès is a perfect holiday destination and the perfect home for a festival as spectacular as ElectroBeach.
Location-
Lydia’s Beach
66420 Le Barcarès
France
Le Barcarès 8km of stunning coastline is given a full makeover, with huge stage décor complimented by an army of food-stalls and bars that dance in the sea breeze.
Line Up-
David Guetta, Martin Garrix, Tiësto, Robin Schulz, Axwell ^ Ingrosso, Hardwell, DJ Snake, Martin Solveig, Nicky Romero, Pep and Rash, Dillon Francis, Michael Calfan, Eric Prydz, Throttle, EDX, Sunnery James & Ryan Marciano, Smash, Swanky Tunes, Kikkr, Ralph, Arno Cost, Michael Canitrot, Tony Romera, Gregori Klosman, Norman Dore, Quentin Mosimann, Sven Väth, Markus Fix, Ilario Alicante, Luciano, Cesar Merveille, Dop dancegeo.com/event/electrobeach-music-festival-2016/
Bartabas: Golgota
Acclaimed equestrian theatre artist Bartabas returns to the Sadler’s Wells stage accompanied by contemporary flamenco dancer Andrés Marín, four horses and a donkey, to present the UK Premiere of Golgota. 14-21 March.
Credits:
Creation, stage design, direction: Bartabas
Choreography, performance: Andrés Marín & Bartabas
Horses: Horizonte, Le Tintoret, Soutine, Champagne & Lautrec the donkey
Music: Tomás Luis de Victoria, motets for solo voice
Countertenor: Christophe Baska
Cornet: Adrien Mabire
Lute: Marc Wolff
Actor: William Panza
Costumes: Sophie Manach & Yannick Laisné
Props: Sébastien Puech
Scenery: Les Ateliers Jipanco
Lights: Laurent Matignon
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Ground Zero Festival 2016 is a night music festival of hardstlye and bass in the Netherlands. Ground Zero's iconic main stage is flanked by 9 more, all packed with the biggest DJs and artist in the world.
Ambassadors from the finest labels and promoters represent electronic music's darker side and sharper edge, all finding their place amongst the breathtaking and atmospheric surroundings of Bussloo.
An unbelievable amount of music is packed into ten hours overnight, with spectacular visuals and unique stage design also playing an important part in setting Ground Zero apart from the rest of Europe's festival crowd.
The Stages featured at Ground Zero Festival 2016 will be:
Hardcore Main Stage
The epicenter of Ground Zero Festival: Hardcore Mainstage. Deep bass, hard kicks and sharp synths provide the strong foundation of overnight Hardcore at Recreation lake Bussloo.
Hardstyle
A diverse list of the best artists! Overnight fat screeches and pounding thrill rolls on Hardstyle stage of Ground Zero Festival.
Uptempo-Frenchcore Hosted By Ruhr 'G' Beat
In 2013, Ground Zero presented a new stage: the Ruhr 'G ' Beat internship. A successful German hosted stage where the focus is on the hardest Frenchcore.
Early Hardcore
Never forget where you come from. The basis of the hardcore scene is in the past , but is not forgotten in the present. These acts bring you back to the time when the Early Hardcore developed into a top Dutch subculture.
Millennium Hardcore
New this year: the Millennium Hardcore stage. At the Millennium Hardcore stage stands the Hardcore sound from 2000 to 2009 first, an addition that fills the gap between new and Early Hardcore.
Industrial
Influences of Drum 'n' bass, techno and hardcore come together on the Industrial Hardcore internship. The industrial hardcore genre, which in the 90 developed into a major movement in the hardcore scene, is also a stage to be reckoned with in 2016!
Terror
Just like last year at Ground Zero, the Terror stage is back and even harder. Popping with at least 200bpm on fast kicks and uptempo tunes. The Terror stage will lift the roof off and nothing remains intact.
Freestyle
Think out of the box is the thinking at the Freestyle stage. Everything is allowed, which makes for a mix of everything that has to do with harder styles. A special selection of top artists will take you to great heights the Freestyle stage.
Hardtechno Hosted By Pallet Party
After the success of last year and back in 2016: the Hard Techno stage of Pallet Party . A genre which formed the basis of the first developments of Hardcore . The best highlights of this genre here.
Talent Stage
The Talent stage at Ground Zero provides a space for emerging acts. Ground Zero is happy excited to give new talent the opportunity to promote themselves.
Location-
Kneuterstraat 38
7384 CN Wilp
Netherlands
East of Amsterdam, Bussloo boasts an incredible lake, set in amongst luscious green meadows and beautiful forest. It all helps create an intense atmosphere, perfect for Ground Zero Festival's high-energy experience.
Line Up-
AdrenoKrome, Aggressive, Akira, Alien T, Amada, Amnesys LIVE, Angel, Audiofreq, Base Alert, Bass-D, Buzz Fuzz, Catscan, Chosen Few, Coredelia Guerilla, D-Block & S-te-Fan, D-Passion, D’ Spyre, Dano, Darkcontroller, DaY-mar, Delta 9, Devin Wild, Dexter, Digital Punk, Dr Phunk, DRS, Dutch Movement, Dyprax, Endymion, Evil Activities, Freestyle Maniacs, Frenchip, Furyan, Gizmo, Hard Attakk LIVE, Hardbouncer, Hardstyle Mafia, Human Resource, Hungry Beats, Igneon System, Isaac, J.D.A, Jack of Sound LIVE, Jason Little, Javi Boss, ketaNoise, Khaoz Engine, Laurent Hô, Le Bask, Lenny Dee, Leviathan, Lowriderz, Lunatic, Maissouille, Malua, Max Enforcer, MC Axys, MC Da Syndrome, MC Jeff, MC Skullcrusher, MC Syco, MC the Russian, Miss Enemy, Miss Hysteria, Negative Audio LIVE, Nelson Katzer, Neox, Noisekick, Ophidian, Outbreak, Outsiders, Paralizer, Penta, Placid K, Playboyz, Promo, Psiko, Radium, Re-Style, Rheeza, Rooler LIVE, Ruffneck, s’Aphira, Sandy Warez, Sasha F, Sei2ure, Sjammienators, SRB, Stephanie, System:Overload, Tekzotic, The Annoying Raider, The Braindrillerz, The Dark Project, The Demon Dwarf, The DJ Producer, The Prophet, The Speed Freak, The Vinylraider, Tommyknocker, Transfarmers, Triggah MC, Tymon, Vince, Viper XXL, Withecker, Ysiss dancegeo.com/event/ground-zero-festival-2016/
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 2087, 1964. Photo: Ludwig Schirmer.
Annekathrin Bürger (1937) is a German stage, film, and television actress. Bürger was a prominent actress in East Germany appearing in a number of films made by the state-run DEFA film studios as well as in television series such as Wolf Among Wolves (1965) set in 1920s Berlin. In 1972 she played the female lead in the Ostern Tecumseh (1972).
Annekathrin Bürger was born Annekathrin Rammelt in 1937 in
Berlin-Charlottenburg, Nazi Germany. Her father was the animal draftsman and illustrator Heinz Rammelt. She grew up in Hornhausen, trained as an advertising designer in Bernburg, and worked as a stage design assistant, prop master, and extra at the Carl-Maria-von-Weber-Theater there. She failed the entrance exam for the State Drama School in Berlin. In the summer of 1955, she met Czech film people in Berlin and played her first small role as a pioneer leader in the Czech-German short film Gebirge und Meer/Mountains and sea (Wolfgang Bartsch, Bohumil Vosahlik, 1955). A year later she appeared in the East German neo-realist romantic drama Eine Berliner Romanze/A Berlin Romance (Gerhard Klein, 1956), a film about youth urban life in the divided city of Berlin. It was produced by the DEFA, the state-owned East German studio. Annekathrin Bürger's co-stars were Ulrich Thein and Uwe-Jens Pape. It is still amongst DEFA's best-known films. Bürger studied acting at the Potsdam Film and Television Academy from 1957 to 1960. From 1959 to 1960 she was engaged at the Deutsches Theater in Berlin. She also starred in another youth film, Reportage 57 (János Veiczi, 1959), and the romantic comedy Verwirrung der Liebe/Love's Confusion (Slátan Dudow, 1959), both with Willi Schrade. Love's Confusion was Dudow's last film and the screen debut of Angelica Domröse. Influenced by the relaxed political climate ushered with the Khrushchev Thaw, the picture was unprecedentedly libertine in regards to sexuality. It became a huge hit.
During the early 1960s, Annekathrin Bürger appeared in a series of DEFA productions, such as Septemberliebe/September Love (Kurt Maetzig, 1961) with Doris Abesser and Ulrich Thein. She also starred in the first joint Soviet–East German film, Pyat Dney, Pyat Nochei/Fünf Tage, Fünf Nächte/Five Days, Five Nights ( Lev Arnshtam, Heinz Thiel, 1961) with Wilhelm Koch-Hooge. The picture's plot was inspired by the recovery of the art of the Old Masters Picture Gallery through the hands of Soviet troops in 1945. The art collection was then taken to the USSR, where it was kept until being returned to the Dresden Gallery in 1960. Five Days, Five Nights sold more than two million tickets in the German Democratic Republic. Then she starred in the romantic war drama Königskinder/Star-Crossed Lovers (Frank Beyer, 1962) with Armin Mueller-Stahl, and in the drama Das zweite Gleis/The Second Track (Joachim Kunert, 1962), as the daughter of Albert Hetterle. It is the only DEFA film looking at Nazi Germany history in East Germany. From 1963 to 1965 she was a member of the DFF, from 1965 to 2003 a member of the ensemble of the Volksbühne Berlin. Since 1968 she has only seldom been used in supporting roles in the theatre.
Bürger played numerous roles in DEFA and DFF films including the Ostern (Red Western) Tecumseh (Hans Kratzert, 1972) opposite Gojko Mitić and Rolf Römer. It is part of a popular string of films starring the Yugoslav actor Gojko Mitić which, in line with the policies of Communist East Germany, attempted to present a more critical, but also more realistic, view of American expansion to the West than was characterised by Hollywood. The film, along with others, was also made partly in response to the successful series of Karl May films made in West Germany. The film depicts the life of the Native American leader Tecumseh (1768–1813), including his role in Tecumseh's War and his later death in the War of 1812 while fighting with the British against the United States. On television, she played a supporting role as a laundromat and bar manager in the popular series Tatort Leipzig with Peter Sodann, until 2005. She was also involved in cultural policy and protested against Wolf Biermann's expatriation and was committed to maintaining Charlotte von Mahlsdorf's Wilhelminian-style museum. From 1990 to 1997 Bürger was chairman of the Congress of the National Citizens Movement. In 1993 she and her husband founded the orphans on the Don association. In the same year, the documentary film Children of the Don was made about it. Annekathrin Bürger was first married to the actor and director Ulrich Thein and was married to her colleague Rolf Römer from 1966 until his death in 2000. Annekathrin Bürger lives in Berlin-Köpenick.
Sources: Wikipedia (English and German), and IMDb.
And, please check out our blog European Film Star Postcards.
Frank Eugene (19 September 1865 – 16 December 1936) was an American-born photographer who was a founding member of the Photo-Secession and one of the first university-level professors of photography in the world.
Eugene was born in New York City as Frank Eugene Smith. His father was Frederick Smith, a German baker who changed his last name from Schmid after moving to America in the late 1850s. His mother was Hermine Selinger Smith, a singer who performed in local German beer halls and theaters.[1]
About 1880 Eugene began to photograph for amusement, possibly while he was attending the City College of New York.
In 1886 he moved to Munich in order to attends the Bayrische Akademie der Bildenden Künste (Bavarian Academy of Fine Arts). He studied drawing and stage design. After he graduated he started a career as a theatrical portraitist, drawing portraits of actors and actresses. He continued his interest in photography, although little is known of his teachers or influences.
He returned to the United States, and in 1899 he exhibited photographs at the Camera Club in New York under name Frank Eugene. The critic Sadakichi Hartmann wrote a review of the show, saying “It is the first time that a truly artistic temperament, a painter of generally recognized accomplishments and ability asserts itself in American photography.”[2]
A year later he was elected to The Linked Ring, and fourteen of his prints were shown that year in a major London exhibition. Already at this stage in his career he had developed a highly distinctive style that was influenced by his training as a painter. He assertively manipulated his negatives with both scratches and brush strokes, creating prints that had the appearance of a blend between painting and photography. When his prints were shown at the Camera Club in New York, one reviewer commented that his work was "unphotographic photography."[3]
In the summer of 1900 an entire issue of Camera Notes was devoted to his art, an honor accorded only a few other photographers.
In early 1901 he traveled to Egypt. He returned a few months later and met with photographer F. Holland Day in Narragansett, R.I., during the summer.
In late 1902 Eugene becomes a Founder of the Photo-Secession and a member of its governing Council.
In 1904 one gravure published in Camera Work, No. 5 (January).
In 1906 Eugene moved permanently to Germany. He was recognized there both as a painter and a photographer, but initially he worked primarily with prominent painters such as Fritz von Uhde, Hendrik Heyligers, Willi Geiger, and Franz Roh. He photographed many of these and other artists at the same time. He also designed tapestries that he used as backgrounds in his photographs.[4]
A year later he became a lecturer on pictorial photography at Munich’s Lehr-und Versuchs-anstalt fur Photo graphie und Reproduktions-technik (Teaching and Research Institute for Photography and the Reproductive Processes). At this point, photography rather than painting became his primary interest. He experimented with the new color process of Autochromes, and three of his color prints are exhibited at Alfred Stieglitz’s Photo-Secession Galleries in New York.
In 1909 two more of his gravures were published in Camera Work, No. 25 (January).
In 1910 twenty-seven of his photographs were exhibited at a major exhibition in Buffalo, New York. The catalog for this show described Eugene as the first photographer to make successful platinum prints on Japan tissue. Ten more of his gravures published in Camera Work, No.30 (April), and fourteen additional images appear in No.31 (July).
More than any other photographer of the early 20th century, Eugene was recognized as the master of the manipulated image. Photographic historian Weston Naef described his style this way:
"The very boldness with which Eugene manipulated the negative by scratching and painting forced even those with strong sympathy for the purist line of thinking like White, Day and Stieglitz to admire Eugene's particular touch...[he] created a new syntax for the photographic vocabularity, for no one before him had hand-worked negatives with such painterly intentions and a skill unsurpassed by his successors."[4]
In 1913 he was appointed Royal Professor of Pictorial Photography by the Royal Academy of the Graphic Arts of Leipzig. This professorship, created especially for Eugene, is the first chair for pictorial photography anywhere in the world.[4]
Two years later Eugene gave up his American citizenship and became a citizen of Germany. He continued teaching for many years and was head of the photography department at the Royal Academy until it closed in 1927.[1]
Eugene died of heart failure in Munich in 1936.
Javier Núñez - Designer
Fanny MK Up - M.U.A
Eyeshadow&Lipstick- M.U.A
Pauu Recio -Stage design
Arancha - Model
Ergo - Photography & Retouch
Seit 2 Tagen diskutierten wir im Team, welches Bühnenbild wir für die letzte Perfomance wählen sollten. Und wir waren uns immer noch nicht einig. Was meint ihr!?
For two days the team had been discussing which stage design we should choose for the final performance. And we still didn't agree. What do you all mean!?
Russian painter, mainly in watercolour, art historian and stage designer. Born in St Petersburg of French and Italian descent, son of Nikolai Benois, architect to the Imperial Palaces in Peterhof. Briefly attended a part-time course in stage design at the Academy of Arts 1887, but otherwise self-taught as an artist. Studied law at the University of St Petersburg 1890-4, and while still a student formed a circle with a number of friends, including Diaghilev, Somov and Bakst, for the purpose of studying art. This later developed into the World of Art (Mir Iskusstva), which held exhibitions and published a journal of the same name, 1898-1904. Travelled widely in Europe and was influenced by the art of the eighteenth century. Became very active and influential as a stage designer, including sets and costumes for Le Pavillon d'Armide 1907 and (for Diaghilev) Petrushka 1911 and Le Rossignol 1914. Edited the periodical Khudozhestvennye sokrovishcha Rossii (Art Treasures of Russia) 1901-3, and wrote several books on art and volumes of memoirs. Curator of Painting at the Hermitage 1918-25, then moved in 1926 to Paris, where he continued to paint and design for the theatre. Died in Paris.
Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.48
East-German postcard by Progress Film-Verleih, Berlin / Planet-Verlag, no. 10/F/78, 1978. Photo: Schwarz.
Annekathrin Bürger (1937) is a German stage, film, and television actress. Bürger was a prominent actress in East Germany appearing in a number of films made by the state-run DEFA film studios as well as in television series such as Wolf Among Wolves (1965) set in 1920s Berlin. In 1972 she played the female lead in the Ostern Tecumseh (1972).
Annekathrin Bürger was born Annekathrin Rammelt in 1937 in
Berlin-Charlottenburg, Nazi Germany. Her father was the animal draftsman and illustrator Heinz Rammelt. She grew up in Hornhausen, trained as an advertising designer in Bernburg, and worked as a stage design assistant, prop master, and extra at the Carl-Maria-von-Weber-Theater there. She failed the entrance exam for the State Drama School in Berlin. In the summer of 1955, she met Czech film people in Berlin and played her first small role as a pioneer leader in the Czech-German short film Gebirge und Meer/Mountains and sea (Wolfgang Bartsch, Bohumil Vosahlik, 1955). A year later she appeared in the East German neo-realist romantic drama Eine Berliner Romanze/A Berlin Romance (Gerhard Klein, 1956), a film about youth urban life in the divided city of Berlin. It was produced by the DEFA, the state-owned East German studio. Annekathrin Bürger's co-stars were Ulrich Thein and Uwe-Jens Pape. It is still amongst DEFA's best-known films. Bürger studied acting at the Potsdam Film and Television Academy from 1957 to 1960. From 1959 to 1960 she was engaged at the Deutsches Theater in Berlin. She also starred in another youth film, Reportage 57 (János Veiczi, 1959), and the romantic comedy Verwirrung der Liebe/Love's Confusion (Slátan Dudow, 1959), both with Willi Schrade. Love's Confusion was Dudow's last film and the screen debut of Angelica Domröse. Influenced by the relaxed political climate ushered with the Khrushchev Thaw, the picture was unprecedentedly libertine in regards to sexuality. It became a huge hit.
During the early 1960s, Annekathrin Bürger appeared in a series of DEFA productions, such as Septemberliebe/September Love (Kurt Maetzig, 1961) with Doris Abesser and Ulrich Thein. She also starred in the first joint Soviet–East German film, Pyat Dney, Pyat Nochei/Fünf Tage, Fünf Nächte/Five Days, Five Nights ( Lev Arnshtam, Heinz Thiel, 1961) with Wilhelm Koch-Hooge. The picture's plot was inspired by the recovery of the art of the Old Masters Picture Gallery through the hands of Soviet troops in 1945. The art collection was then taken to the USSR, where it was kept until being returned to the Dresden Gallery in 1960. Five Days, Five Nights sold more than two million tickets in the German Democratic Republic. Then she starred in the romantic war drama Königskinder/Star-Crossed Lovers (Frank Beyer, 1962) with Armin Mueller-Stahl, and in the drama Das zweite Gleis/The Second Track (Joachim Kunert, 1962), as the daughter of Albert Hetterle. It is the only DEFA film looking at Nazi Germany history in East Germany. From 1963 to 1965 she was a member of the DFF, from 1965 to 2003 a member of the ensemble of the Volksbühne Berlin. Since 1968 she has only seldom been used in supporting roles in the theatre.
Bürger played numerous roles in DEFA and DFF films including the Ostern (Red Western) Tecumseh (Hans Kratzert, 1972) opposite Gojko Mitić and Rolf Römer. It is part of a popular string of films starring the Yugoslav actor Gojko Mitić which, in line with the policies of Communist East Germany, attempted to present a more critical, but also more realistic, view of American expansion to the West than was characterised by Hollywood. The film, along with others, was also made partly in response to the successful series of Karl May films made in West Germany. The film depicts the life of the Native American leader Tecumseh (1768–1813), including his role in Tecumseh's War and his later death in the War of 1812 while fighting with the British against the United States. On television, she played a supporting role as a laundromat and bar manager in the popular series Tatort Leipzig with Peter Sodann, until 2005. She was also involved in cultural policy and protested against Wolf Biermann's expatriation and was committed to maintaining Charlotte von Mahlsdorf's Wilhelminian-style museum. From 1990 to 1997 Bürger was chairman of the Congress of the National Citizens Movement. In 1993 she and her husband founded the orphans on the Don association. In the same year, the documentary film Children of the Don was made about it. Annekathrin Bürger was first married to the actor and director Ulrich Thein and was married to her colleague Rolf Römer from 1966 until his death in 2000. Annekathrin Bürger lives in Berlin-Köpenick.
Sources: Wikipedia (English and German), and IMDb.
And, please check out our blog European Film Star Postcards.
Circa: The Return, LIMF 2016
The Australian company Circa in The Return at the Barbican Theatre as part of London International Mime Festival. 27-31 Jan.
Created by Yaron Lifschitz with Quincy Grant and the Circa ensemble
Composers: Claudio Monteverdi, Quincy Grant, John Barber, Jakub Jankowski and Cornel Wilczek
Directed by Yaron Lifschitz
Musical supervision by Quincy Grant
Musical direction by Natalie Murray Beale
Technical direction and lighting by Jason Organ
Costumes by Libby McDonnell
Stage design by Jason Organ and Yaron Lifschitz
Circa Ensemble: Nathan Boyle, Daniel O’Brien,
Nicole Faubert, Bridie Hooper, Brittannie Portelli, Duncan West
Tenor: Robert Murray
Mezzo Soprano Kate Howden
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Frank Eugene (19 September 1865 – 16 December 1936) was an American-born photographer who was a founding member of the Photo-Secession and one of the first university-level professors of photography in the world.
Eugene was born in New York City as Frank Eugene Smith. His father was Frederick Smith, a German baker who changed his last name from Schmid after moving to America in the late 1850s. His mother was Hermine Selinger Smith, a singer who performed in local German beer halls and theaters.[1]
About 1880 Eugene began to photograph for amusement, possibly while he was attending the City College of New York.
In 1886 he moved to Munich in order to attends the Bayrische Akademie der Bildenden Künste (Bavarian Academy of Fine Arts). He studied drawing and stage design. After he graduated he started a career as a theatrical portraitist, drawing portraits of actors and actresses. He continued his interest in photography, although little is known of his teachers or influences.
He returned to the United States, and in 1899 he exhibited photographs at the Camera Club in New York under name Frank Eugene. The critic Sadakichi Hartmann wrote a review of the show, saying “It is the first time that a truly artistic temperament, a painter of generally recognized accomplishments and ability asserts itself in American photography.”[2]
A year later he was elected to The Linked Ring, and fourteen of his prints were shown that year in a major London exhibition. Already at this stage in his career he had developed a highly distinctive style that was influenced by his training as a painter. He assertively manipulated his negatives with both scratches and brush strokes, creating prints that had the appearance of a blend between painting and photography. When his prints were shown at the Camera Club in New York, one reviewer commented that his work was "unphotographic photography."[3]
In the summer of 1900 an entire issue of Camera Notes was devoted to his art, an honor accorded only a few other photographers.
In early 1901 he traveled to Egypt. He returned a few months later and met with photographer F. Holland Day in Narragansett, R.I., during the summer.
In late 1902 Eugene becomes a Founder of the Photo-Secession and a member of its governing Council.
In 1904 one gravure published in Camera Work, No. 5 (January).
In 1906 Eugene moved permanently to Germany. He was recognized there both as a painter and a photographer, but initially he worked primarily with prominent painters such as Fritz von Uhde, Hendrik Heyligers, Willi Geiger, and Franz Roh. He photographed many of these and other artists at the same time. He also designed tapestries that he used as backgrounds in his photographs.[4]
A year later he became a lecturer on pictorial photography at Munich’s Lehr-und Versuchs-anstalt fur Photo graphie und Reproduktions-technik (Teaching and Research Institute for Photography and the Reproductive Processes). At this point, photography rather than painting became his primary interest. He experimented with the new color process of Autochromes, and three of his color prints are exhibited at Alfred Stieglitz’s Photo-Secession Galleries in New York.
In 1909 two more of his gravures were published in Camera Work, No. 25 (January).
In 1910 twenty-seven of his photographs were exhibited at a major exhibition in Buffalo, New York. The catalog for this show described Eugene as the first photographer to make successful platinum prints on Japan tissue. Ten more of his gravures published in Camera Work, No.30 (April), and fourteen additional images appear in No.31 (July).
More than any other photographer of the early 20th century, Eugene was recognized as the master of the manipulated image. Photographic historian Weston Naef described his style this way:
"The very boldness with which Eugene manipulated the negative by scratching and painting forced even those with strong sympathy for the purist line of thinking like White, Day and Stieglitz to admire Eugene's particular touch...[he] created a new syntax for the photographic vocabularity, for no one before him had hand-worked negatives with such painterly intentions and a skill unsurpassed by his successors."[4]
In 1913 he was appointed Royal Professor of Pictorial Photography by the Royal Academy of the Graphic Arts of Leipzig. This professorship, created especially for Eugene, is the first chair for pictorial photography anywhere in the world.[4]
Two years later Eugene gave up his American citizenship and became a citizen of Germany. He continued teaching for many years and was head of the photography department at the Royal Academy until it closed in 1927.[1]
Eugene died of heart failure in Munich in 1936.
Stage design, costume, interactive media design, and print design for the Steinfuß Theatre. The play staged the critical text “Geschichte meiner Einschätzung am Anfang des Dritten Jahrtausends” by German musician and poet PeterLicht. The concept is about three different boxes, through which the audience moves from scenery to scenery. We set up a pool made of styrodur, a cardboard structure, and a site fence with woven paper strips. Then there was a video projection and a remote controlled moon.
With Aline Otte, Yakub Yayla, Bianca Barabas, Duy An Tran, and others.
Director: Adelheid Schulz
17.-24.5. 2012, Stuttgart
Cloud Gate 2: Beckoning
Cloud Gate 2 presents 'Beckoning', part of their Triple Bill at Sadler's Wells Theatre on 21-23 November 2016. The show is part of Sadler's Wells Out of Asia 2 season.
Artistic Director & choreographer: Cheng Tsung-lung
Lighting Design: Shen Po-hung
Stage Design: He Jia-sing
Costume Design: Lin Bin-hao
Dancers: Tsou Ying-lin, Chan Hing-chung, Lin I-hsuan, Wu Jui-ying, Lee Yin-ying, Luo Sih-wei, Su I-chieh, Chen Yi-en, Liao Chin-ting, Hsu Chih-hen
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Cloud Gate 2: Beckoning
Cloud Gate 2 presents 'Beckoning', part of their Triple Bill at Sadler's Wells Theatre on 21-23 November 2016. The show is part of Sadler's Wells Out of Asia 2 season.
Artistic Director & choreographer: Cheng Tsung-lung
Lighting Design: Shen Po-hung
Stage Design: He Jia-sing
Costume Design: Lin Bin-hao
Dancers: Tsou Ying-lin, Chan Hing-chung, Lin I-hsuan, Wu Jui-ying, Lee Yin-ying, Luo Sih-wei, Su I-chieh, Chen Yi-en, Liao Chin-ting, Hsu Chih-hen
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German autograph card.
Annekathrin Bürger (1937) is a German stage, film, and television actress. Bürger was a prominent actress in East Germany appearing in a number of films made by the state-run DEFA film studios as well as in television series such as Wolf Among Wolves (1965) set in 1920s Berlin. In 1972 she played the female lead in the Ostern Tecumseh (1972).
Annekathrin Bürger was born Annekathrin Rammelt in 1937 in
Berlin-Charlottenburg, Nazi Germany. Her father was the animal draftsman and illustrator Heinz Rammelt. She grew up in Hornhausen, trained as an advertising designer in Bernburg, and worked as a stage design assistant, prop master, and extra at the Carl-Maria-von-Weber-Theater there. She failed the entrance exam for the State Drama School in Berlin. In the summer of 1955, she met Czech film people in Berlin and played her first small role as a pioneer leader in the Czech-German short film Gebirge und Meer/Mountains and sea (Wolfgang Bartsch, Bohumil Vosahlik, 1955). A year later she appeared in the East German neo-realist romantic drama Eine Berliner Romanze/A Berlin Romance (Gerhard Klein, 1956), a film about youth urban life in the divided city of Berlin. It was produced by the DEFA, the state-owned East German studio. Annekathrin Bürger's co-stars were Ulrich Thein and Uwe-Jens Pape. It is still amongst DEFA's best-known films. Bürger studied acting at the Potsdam Film and Television Academy from 1957 to 1960. From 1959 to 1960 she was engaged at the Deutsches Theater in Berlin. She also starred in another youth film, Reportage 57 (János Veiczi, 1959), and the romantic comedy Verwirrung der Liebe/Love's Confusion (Slátan Dudow, 1959), both with Willi Schrade. Love's Confusion was Dudow's last film and the screen debut of Angelica Domröse. Influenced by the relaxed political climate ushered with the Khrushchev Thaw, the picture was unprecedentedly libertine in regards to sexuality. It became a huge hit.
During the early 1960s, Annekathrin Bürger appeared in a series of DEFA productions, such as Septemberliebe/September Love (Kurt Maetzig, 1961) with Doris Abesser and Ulrich Thein. She also starred in the first joint Soviet–East German film, Pyat Dney, Pyat Nochei/Fünf Tage, Fünf Nächte/Five Days, Five Nights ( Lev Arnshtam, Heinz Thiel, 1961) with Wilhelm Koch-Hooge. The picture's plot was inspired by the recovery of the art of the Old Masters Picture Gallery through the hands of Soviet troops in 1945. The art collection was then taken to the USSR, where it was kept until being returned to the Dresden Gallery in 1960. Five Days, Five Nights sold more than two million tickets in the German Democratic Republic. Then she starred in the romantic war drama Königskinder/Star-Crossed Lovers (Frank Beyer, 1962) with Armin Mueller-Stahl, and in the drama Das zweite Gleis/The Second Track (Joachim Kunert, 1962), as the daughter of Albert Hetterle. It is the only DEFA film looking at Nazi Germany history in East Germany. From 1963 to 1965 she was a member of the DFF, from 1965 to 2003 a member of the ensemble of the Volksbühne Berlin. Since 1968 she has only seldom been used in supporting roles in the theatre.
Bürger played numerous roles in DEFA and DFF films including the Ostern (Red Western) Tecumseh (Hans Kratzert, 1972) opposite Gojko Mitić and Rolf Römer. It is part of a popular string of films starring the Yugoslav actor Gojko Mitić which, in line with the policies of Communist East Germany, attempted to present a more critical, but also more realistic, view of American expansion to the West than was characterised by Hollywood. The film, along with others, was also made partly in response to the successful series of Karl May films made in West Germany. The film depicts the life of the Native American leader Tecumseh (1768–1813), including his role in Tecumseh's War and his later death in the War of 1812 while fighting with the British against the United States. On television, she played a supporting role as a laundromat and bar manager in the popular series Tatort Leipzig with Peter Sodann, until 2005. She was also involved in cultural policy and protested against Wolf Biermann's expatriation and was committed to maintaining Charlotte von Mahlsdorf's Wilhelminian-style museum. From 1990 to 1997 Bürger was chairman of the Congress of the National Citizens Movement. In 1993 she and her husband founded the orphans on the Don association. In the same year, the documentary film Children of the Don was made about it. Annekathrin Bürger was first married to the actor and director Ulrich Thein and was married to her colleague Rolf Römer from 1966 until his death in 2000. Annekathrin Bürger lives in Berlin-Köpenick.
Sources: Wikipedia (English and German), and IMDb.
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