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The Stage

Annelie Büchner

Artistic Career

Annelie Büchner is a freelance set designer for Operas, theatre and film.

As a trained decorative painter, she studied set design at the East German Art Institute Weissensee. Her acquaintance as a young set designer with the opera director Werner Schroeter and the theatre director  Dimitr Gotscheff were of lasting importance. In 1994, she debuted in Duesseldorf with her work on the first production of Sobol's "Schöner Toni" directed by Bruno Klimek. More set designs followed; among others, at the Duesseldorf Playhouse, the Schwerin City Theatre, and the Wilhelmshaven Regional Theatre. In recent years she has also devoted herself to set design for the cinema. She worked on the set of the film, Die Vogelpredigt oder das Schreien der Mönche, by the Swiss filmmaker Clemens Klopfenstein, which has received numerous film prizes.

In 1999, she worked for the first time with Gustav Kuhn and Jörg Neumann on the Tyrol Festival production of Siegfried. She followed this up in 2000 with the set design for the theatrical production of The Death of the Nazarene with the Erl Passion Players.

Set Design Concept 

The set design for the Erl Passion in 2008 is a lighting concept.

Light is historically a carrier of symbols, which is especially well known in the New Testament. Light, however, is also a material characteristic of a material substance – a reflection of tangible nature.

Respecting both of these characteristics, my intention is to use light as a medium to create spaces within the traditional, concrete Erl Passion play, and in doing so to break, not only the visual habits of the performances over the last few decades, but also give the play a sensuous atmosphere and to use the play's visual aspect, in accord with the new script, score and costumes, to have a contemporary look.

In this lighting work I will remain true to my principals of artistic expression: Simplicity and restraint in space, with a keen sense of color, composition and proportion. The goal is to give the viewer's imagination the greatest amount of latitude to produce its own pictures and thoughts; and that, "...the sum of all the lights must not be greater than the light that shines from the hearts of the actors." (Jean Cocteau).

 

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