THE NAVIDSONS

The artist collective THE NAVIDSONS consists of Till Wyler von Ballmoos (stage director), Maxine Devaud (production management), Ole Hübner (composition), Tassilo Tesche (scenography) and Jakob Boeckh (light design) and collaborators among others Lorenz Langenegger (text), Nikolaus Witty (dramaturgy) and Kristian Hverring (sound artist). In methods of multiple authorship the collective develops music theatre at the interface of performance, opera and art installation. Their work focuses on concepts of manipulation of reality and on experiments with forms of an open dramaturgy. The driving force behind their productions is the search for performative and aesthetic transformation of unstable situations and fragile moments.

Their practical work pursues the idea of creating immersive, performative “landscapes of states and spaces” by means of live choreographies of musicians, singers and performers. The audience is invited to reflect on categories such as authenticity and fiction, imagination and reality, objectivity and subjectivity. The borders between staging and improvisation, creation and deconstruction, between visual media, music and architectural space are explored in projects such as  THE NAVIDSON RECORDS (Münchener Biennale, Festival für Neues Musiktheater / KonzertTheaterBern).

Currently THE NAVIDSONS are invited to present their work in an OPEN-GUERILLA-WORKSTATION at OPERADAGEN 2018 in Rotterdam.

 

BIOGRAPHIES ARTISTIC TEAM

Till Wyler von Ballmoos 
born in Bern, Switzerland. His work revolves around the interplay between audience and live music and sound. The choreography of unstable events in performances and narrations of paradox situations are the focuses of his artistic research.
Till Wyler von Ballmoos studied music theatre at the University of Music and Theatre in Munich, Germany, from 2006 to 2011, and classical cello at the University of Arts in Bern, Switzerland, from 1990 to 2004. Since 2000, Till Wyler von Ballmoos has been working in theatre, music, flm and new music theatre. He develops theme-related music performance projects in the independent theatre and music theatre scene. His critically acclaimed opera production “The Navidson Records” was premiered at Münchener Biennale as an opera drawing on elements of both art installation and music theatre. At the Opera Stuttgart he created “Make Room – Take up Space”, a performance with the public in public space. At the Biennale Bern he created and directed the performative installation “Carrillo_N¿”. He was awarded a residency fellowship of Akademie Schloss Solitude, Künstlerhaus Schloss Balmoral and Pro Helvetia India. He has received several awards including Best Director at the Bavarian Theatre Festival in Bamberg, Germany, for “Der Tod und das Mädchen – Ein Wiederhall”.

Tassilo Tesche 
born in Munich, Germany, studied scenography at Accademia di Belle Arti in Venice, Italy, and joined the directing class at the School of Dramatic Arts “Ernst Busch” whilst studying German literature and philosophy at the FU Berlin. In 2001 he graduated in architecture at the University of the Arts in Berlin with architect Benedict Tonon and artist Katarina Sieverding. As an architect he worked in the design team with Daniel Libeskind, Arn Meijs Architects and F101 Architekten Berlin. His site- specifc video installations were part of different exhibitions such as Weisse Nacht Kiel, nomad at the CAN Neuchatel or the Villa Romana Florence, where he held a residency in 2005. Up to today he has created, as a stage and costume designer, more than 40 projects at theatres in Germany, Austria, Switzerland and Italy. He has held several guest professorships, e.g. at the HKB Bern, the Università iuav Venice and the Institute of Applied Theatre Studies, Justus Liebig University, in Giessen, Germany. In his recent work, he focusses on the development of concepts in teams with directors, writers and composers. From these polyvalent collaborations, several stage designs emerged with directors such as Christoph Schlingensief, Ludger Engels, Florentine Klepper (et al.) and various works as a co-author, co-director and video artist with Franziska Henschel, Liz Rech, Leo Dick (et al.). Many of his theatre works are site- specifc interventions in public spaces or re-organize conventional theatre situations.

Ole Hübner 
born in Bremerhaven, Germany, studied composition in Hanover (with Benjamin Lang and Joachim Heintz, 2007-2010) and Cologne (with Johannes Schöllhorn and Michael Beil, 2011-2015). Following this, he has been attending the master program at the Institute of Applied Theatre Studies in Giessen, Germany (with Heiner Goebbels and others, since 2015). He often acts in the felds of music theatre, music for theatre, and audio theatre. Topics such as the conception and manipulation of realities; strategies of the imparting and experiencing of “authenticity”; remembrance, reproduction, and repetition as artistic methods and incentives; narration and narrativity; the situational; the absent; the detection and elaboration of both theatrical aspects in music and musical aspects in theatre are examined critically, and dealt with, in both his theatrological and artistic work. At this, the enrichment and reassessment of techniques and knowledge of contemporary music through theatrological perspectives has increasingly played an important role. The collaboration with artists of other disciplines such as acting, mise-en-scène, dance, dramaturgy, and scenography has meanwhile naturally taken up much space in his work and resulted in music theatre productions at Theater Aachen (2013), Deutsche Oper Berlin (2015/16), Konzert Theater Bern (2016), Münchener Biennale (2016), and La Biennale di Venezia (2017). However, Ole Hübner feels committed to concert music as well, and so his composition have been performed at renowned music festivals and in countries such as Germany, Austria, Switzerland, Poland, Italy, Denmark, Japan, Israel, Singapore and Canada.

Maxine Devaud
grew up in Fribourg, Switzerland. After studying photography for two years at the École Cantonale d’Art de Lausanne, she studied musicology and art history at the University of Basel. The violin has accompanied Maxine Devaud almost her entire life, and as a violinist she was a member of the Swiss Youth Symphony Orchestra for many years. From 2014 to 2017, she has been an assistant director working on music theatre and theatre productions. She has worked with directors such as Calixto Bieito, Christian Zehnder, Ludger Engels and Markus Bothe on successful productions at Opernhaus Zürich, Theater Basel and Konzert Theater Bern. Maxine Devaud is currently working in Germany and Switzerland as a theater producer for different companies (Novoflot, The Navidsons, fonundtsu* Theaterproduktion, Ensemble Aabat).

Jakob Boeckh
born in Filderstadt, Germany, is studying at Institute of Applied Theatre Studies at the Justus Liebig University in Giessen. He has worked in various collective structures at several theatre and performance productions. After years of working at the independent youth theatre Alte Kelter Pfäffngen, he was a directing assistant at the Schauspielbühnen Stuttgart for one year. While studying theatrology at the University of Leipzig for another year, he was member of the “TheaterPACK” company as a technician and actor. He adapted (together with Corinna Stoerbeck and Maria Huber) the novel “Malina” by Ingeborg Bachmann for stage (taT Studiobühne, Giessen, 2016) and is working in a collective with Maria Huber and Lea König, after “Postulat” (Theatermaschine, Giessen, 2016), now on their second production. Since 2016, when he cooperated as a video technician in the revival of “The Navidson Records” at Konzert Theater Bern, he has worked together with artists of THE NAVIDSONS collective. In 2017, he created the light design for “MY HANDS. MY MOTHER’s” by Adela Bravo Sauras (NoFourthWall) and realized the short opera “Orpheus Moments” together with Friederike Blum, Ole Hübner and Tassilo Tesche (Festival di Musica Contemporanea, La Biennale di Venezia). His current works often act in the feld of tension between the use of stage techniques and, at the same time, the exhibition and questioning of the illusion generated by it.

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