by Franz Kafka
Schauspielhaus of the Münchner Kammerspiele, Septembre 25, 2008
Director: Andreas Kriegenburg, Stage Design: Andreas Kriegenburg, Costume Design: Andrea Schraad, Light Design: Björn Gerum, Sound Design: Mathis Nitschke, Martin Sraier-Krügermann, Dramaturgy: Matthias Günther
Starring: Walter Hess, Sylvana Krappatsch, Lena Lauzemis, Oliver Mallison, Bernd Moss, Annette Paulmann, Katharina Marie Schubert, Edmund Telgenkämper
Invited to the Berliner Theatertreffen 2009 and the Wiener Festwochen 2009
Best Stage Design 2009 (Theater heute)
DER PROZESS was invited to the following festivals and theatres:
Teatrium, Tschechow Festival Moskau, Juni 2013
Centro Dramatico Nacional, Teatro Valle Inclan, Madrid, Oktober 2011
Hamburger Theater Festival, September 2010
Festival d’Avignon, Juli 2010
Tiyatro Festivali Istanbul 2010, Mai 2010
Theater Fürth, Dezember 2009
Festival deutscher Sprache, Prag, November 2009
Theaterformen, Hannover, Juni 2009
Internationale Maifestspiele, Theater Wiesbaden, Mai 2009
Sound concept:
Andreas Kriegenburg’s stage design works on two levels: a wall just a few metres behind the front edge of the stage creates a claustrophobically close front stage, 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: the play on the front stage was amplified by a conventional front sound system, while the play on the revolving stage seemed to come out of the funnel as a phantom source with loudspeakers around the funnel.
The play of the levels (the actors could move from the forestage to the revolving stage and back) could thus find its full counterpart in the sound.
 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.){kind=link}