Peter M Boenisch - The Theatre of Thomas Ostermeier

by Simon McBurney

PETER M. BOENISCH

Without the opportunities provided by a Small Research Grant awarded by the British Academy and the Leverhulme Trust, I would not have been able to immerse myself so intensely into Thomas Ostermeiers work at the Berlin Schaubhne. These periods of research residence at Berlin were further complemented by study leave provided by the University of Kent during Spring 2014. At Kent, I am particularly indebted to the former Dean of Humanities, Professor Karl Leydecker (now at the University of Dundee), for his most generous personal efforts in re-directing my career as I briefly took to the stage at the wrong theatre, disregarding his sagacious Regie -instructions. Above all, though, my thanks are due to Thomas Ostermeier for his unreserved enthusiasm that turned what was once planned as a book about his work into a collaborative effort to articulate and document his methods, craft and technique as well as the intellectual context of his work. Thomas, his actors and colleagues at the Schaubhne, and his students have welcomed me most warmly whenever I intruded on their work in rehearsals, workshops and seminar sessions. As a pure theatre theorist by trade a theatre scientist even, as they say in Germany these past few years at and around the Schaubhne have been genuinely transformative not only for my own understanding of Regie , but also of the true task of theatre scholarship. At the Schaubhne, I owe particular thanks to Maren Dey, Florian Borchmeyer, Christoph Schletz, Eva Meckbach, Johanna Lhr, Rebecca Berg, Leila Frieling and Carsten Hth for their generous support of this project. To Elisa Leroy, assistant to Thomas Ostermeier, a special thank you for contributing with such great interest, care and curiosity, and with untiring effort and commitment even during your rare holidays! Arno Declair, Florence von Gerkan and Jan Pappelbaum have assisted us by providing images, and Robert Shaughnessy, David Barnett and Clare Finburgh have kindly commented on draft versions, not least helping us out in our at times vague command of the English language. And finally, thanks to Ben Piggott, Kate Edwards and Talia Rodgers at Routledge who have helped us with great patience to bring the seed of an idea to its eventual fruition.

Peter M. Boenisch
London and Berlin, September 2015

This book about my methodological experiences over the last twenty years would never have been possible without the initiative of Peter M. Boenisch. I would never have taken the time, and would not have had the diligence to do this work without him: he deserves my infinite thanks. Without the collaboration, help and patience of my wonderful personal assistant Elisa Leroy, this book would not have seen the light of day. That is why I would also like to thank her profoundly.

This is a book mostly about directing actors: Without the troupe of actors who have accompanied me all these years at Schaubhne, I would not have had the possibility to conduct my research on acting. I would also like to take this opportunity to thank my loyal set designer, Jan Pappelbaum, with whom Ive been working for twenty years now; the costume designers Nina Wetzel and Florence von Gerkan; the video artist Sbastien Dupouey; the musicians Nils Ostendorf, Malte Beckenbach and Thomas Witte; the dramaturg Florian Borchmeyer, and the Schaubhnes vice director and my long-term collaborator Tobias Veit. I also thank Jrgen Schitthelm, co-founder and former proprietor of the Schaubhne, as well as Schaubhnes former vice director and nowadays managing director Friedrich Barner, who trusted me with the artistic direction of the Schaubhne; and last but not least: my closest collaborator of all these years, the wonderful playwright Marius von Mayenburg, who also provided me with beautiful translations of Shakespeare and Ibsen. Without these, I would not have been able to delve into the realms of these two writers as deeply as I have.

Thomas Ostermeier
Berlin, September 2015