Heiner Goebbels Alain Platel

Heiner Goebbels

Heiner Goebbels was born on August 17, 1952 in Neustadt/Weinstrasse, lives since 1972 in Frankfurt/Main. He studied music and sociology.

Since the end of the 70s Heiner Goebbels composed music for theatre and ballet, e.g. for Hans Neuenfels, Claus Peymann, Matthias Langhoff, Christof Nel, Ruth Berghaus and the Ballet Frankfurt.
Since the middle of the 80s he composed and directed his own works wich are mainly inspired by texts of Heiner Müller (Verkommenes Ufer, The liberation of Prometheus, Wolokolamsker Chaussee). For many of these he was awarded: e.g. with the 'Hoerspielpreis der Kriegsblinden', the 'Prix Italia' and the 'Karl Sczuka Preis'.

Since 1988 Heiner Goebbels composes chamber music for the Ensemble Modern and the Ensemble Intercontemporain. In 1993 he was awarded the 'Hessischer Kulturpreis'.
After his stage concerts like Der Mann Im Fahrstuhl (1987) oder Die Befreiung des Prometheus (1991), he created together with Michael Simon, his first music theatre pieces: Newton's Casino (1990) and Römische Hunde (1991) at the Theater Arn Turm in Frankfurt/Main.

In 1993 he created Ou bien la débarquement désastreux with the actor André Wilms. The piece had its first performance in Paris and was shown afterwards in Frankfurt, Berlin, Munich, Brussels.

In 1994 followed Surrogate Cities, a 90 minutes composition for orchestra, commissioned by the Alten Oper Frankfurt for the opening of the Frankfurter Feste and was performed for the first time by the Jungen Deutschen Philharmonie, directed by Peter Rundel.

In 1995 he created the music theatre piece Die Wiederholung (The Repetition) with the pianist and actress Marie Goyette, the actor Johan Leysen and the guitarist John King after texts of Robbe-Grillet, Kierkegaard and Prince) at the TAT, Frankfurt. The audio-play The Repetition was chosen the " Best audio-play of the year 1997" by the Deutsche Akademie der Darstellenden Künste (German Academy of Performing Arts).

Schwarz auf Weiss (Black on White), his music theatre piece with 18 musicians of the Ensemble Modern was shown the first time in 1996 at the TAT Frankfurt and tours since then worldwide.

1997 he participated in the Documenta X in Kassel with his musical theatre sketch Landscape with man being killed by a snake.

1998 he created in Theatre Vidy-Lausanne E.T.E. the show Max Black with the pyrotechnician PierreAlain Hubert; after that the stage concert Eislermaterial was created together with the Ensemble Modern and the actor Josef Bierbichler.

2000 Heiner Goebbels created the sound installations Timeios and fin de soleil at the centre Pompidou in Paris, the music theatre piece Hashirigaki in Theatre Vidy and the staged concert ...Même soir.- with Les Percussions de Strasbourg.
Heiner Goebbels is a member of the "Akademie der darstellenden Kuenste" (Academy of the Performing Arts) in Frankfurt and the "Akademie der Kuenste" (Academy of the Arts) in Berlin.
From April 1999 on, Heiner Goebbels works as a professor at the Institute for Applied Theatre Studies in Giessen (Germany).


Alain Platel

Born on 9 April 1959, Alain Platel showed a lively interest in art and the theatre even as a boy. When Alain was just eleven, in fact, he was accepted at Marcel Hoste's mime school, in his native city of Ghent, where he studied from 1969 to 1973, winning considerable acclaim. Moreover, he was the only boy in a school for adults. In the following years, he spent a period in the United States as a young live-in assistant to Wanda Newton, a teacher who worked with disadvantaged children. In helping her, Alain discovered aspects of reality that a somewhat over-protected artistic environment had spared him. He experienced the negative aspects of the American dream: violence, ostracism and poverty. His meeting with another teacher, Virginia Meyers, opened up new, unimagined horizons through the discovery and use of music.
On his return to Europe, he attended university and obtained a diploma in speech therapy, did his civilian service, studied mime with Wim Vandekerckhove and took courses at the Paul Griinwis Academy of Ballet in Ghent. In 1980, he participated in an extremely popular workshop held by Barbara Pearce, a Canadian choreographer living in Paris. A year later he was dancing in Patchwork, a production staged by Pearce in 1981.
After this meaningful and encouraging experience, Alain Platel decided to create and produce his own performances. This marked the beginning of his artistic maturity and a career in which art, social conscience and individual experience began to be combined, defined and expressed in a highly-individual theatrical concept and style that led him to eliminate the barriers between the different disciplines (dance, theatre, music, circus); to utilize the most diverse performers (professional dancers, children, people with no theatrical experience or training); to get the best out of his players by respecting them and giving them enormous freedom; and to be motivated by a strong social commitment that comes across immediately and is complete devoid of presumptuousness.
In 1984, the company (almost a "collective") Les Ballets C. de la B. was founded and Stabat Mater produced and staged at the De Beweeging Festival in Antwerp.
In the following years he created Lichte Cavallerie (1985); Mange p'tit coucou (1986); Alchemie, for the Leuven Festival in Belgium (1987); Emma (1988); O boom (1989); Mussen (1990); Bonjour madame, comment allez-vous aujourd'hui, il fait beau, il va sans doute pleuvoir, etcetera (1993); La tristezza complice (1995); Iets op Bach (1998). He also took part in many performances and collaborated on various productions. He produced: Corpo di Barragio for Contemporary Scene (1985); the choreography for the Belgian delegation at the World Hairdressing Show in London (1989); Patek, for the Wurre Wurre Streettheatre (1989); Double Face, choreography for a fashion show in Ghent (1989); Carpe Carpe Carpe, in collaboration with Kirsten Tomas Delholm, a performance with children, Copenhagen (1990); Landschap Van Laura, in collaboration with Eva Bal, Speelteater di Ghent (1991); De Tuin, in collaboration with Eva Bal (1992); North of Vertigo, a co-production with Inflammable, Marseilles (1992); Allons les gars! , LOD production (1992); De Pijl, LOD production (1992); Ja Wacht!, Victoria production (1993); Moeder En Kind, Victoria production (1995); Bernadetje, in collaboration with Arne Sierens, Victoria production (1996); Allemaal Indiaan, in collaboration with Arne Sierens, Les Ballets C. de la B./Victoria production (1999).
Alain Platel collaborates as a guest artist with the Centre du Théâtre de jeunesse "Victoria" in Ghent. He has held various conferences, seminars and theatre-dance courses in different countries, and also taken part in films and videos. His productions and his unique style have won him many awards.