With over 20 productions Elfride Jelineks Winterreise (Winter Journey) belongs to the most performed theatre plays of the recent years. For the world premiere in 2011 at the Münchner Kammerspiele by director Johan Simons I created the live sound design and took care of many guest perfomances.
In this documentary film with my sound mix the confrontation between inhabitants of the village Heinsberg-Randerath and the dismissed sex offender Karl D., who moves in with his brother Helmut, is illuminated.
World premiere of Anne Lepper directed by Jessica Glause on 29 May 2010 at the Neues Haus of the Munich Kammerspiele
With his film "The Flag Bearer" Philip Vogt immerses himself deeply in a foreign world full of tradition, but also full of contradictions. He depicts the upheaval of a patriarchal society in impressive pictures and draws a historically exemplary family portrait based on the history of the Sokolis. Mix in Dolby Digital, opening film of the Dok-Filmfest 2010.
by Maxim Gorki under the direction of Karin Henkel at the Munich Kammerspielen
Seven red motor sirenes are hanging at a steel rope of 11 meters length. They get short impulses of power which make them produce a short, cat-like sound. From time to time they run on low constant power which makes them produce a soft humming sound.
Rüdiger was a child, Aki two months old and Kurt the deputy head of the paedophile sect. They came to Chile in 1962 together with 500 other German sect members and lived locked away from the world for over 40 years. The documentary by Martin Farkas and Matthias Zuber tells about the attempt to continue as a collective after decades of crimes such as torture and murder. I took over the sound design and mixing.
Michael von Biel (born 1939) is one of the most important representatives of New Music of the sixties and seventies and can be regarded as a pioneer in the field of electronic music. Mathis Mayr (cello) and Mathis Nitschke (electronics) approached the early compositional work of Biel in their piece "Improvisation with Biel".
Andreas Kriegenburg's stage design (Münchner Kammerspiele) works with two layers: a wall just a few metres behind the front edge of the stage creates a claustrophobically close-fitting apron, into which an initially upright revolving stage is built. When this is lowered, a further space opens to the rear. The staging was completely microphoned and amplified so that the actors could strike a non-declamatory note. I translated the perspectives of the stage design into different sound levels and perspectives.
Empty stage, no music, it rains (director and room: Luk Perceval). The scene changes and the sound of the speech became audible through different acoustic spaces. We installed nine microphones hanging from the Schnürboden, through which the voices of the actors were amplified and alienated. From the sounds of the raindrops we created musical atmospheres. A small guitar plays in addition.