LOT


stage and costume design
choreography: Riess Hess-Neustadt
at Schwere Reiter München



In LOT, Fabian Riess and Tasha Hess-Neustadt deal with construction and decay. A flow of affect and resonance accelerates the volume of silence. For two years, the collective has been dealing with the extremes of restriction and freedom and, in its somatic research, is concerned with their effects on the body. Starting from a dystopian landscape, they interact with the space, follow impulses, create closeness and intimacy. Two performers in a trio with their surroundings.

Imagine a desert arena, a suspended and liminal space. Somewhere after the decaying remnants of capitalist realism have lost their meaning, before the formation of the next future fantasy. A somatic kind of science fiction. Decay and regrowth morph into one another. Movement becomes the measure of temporality. Cycles open and close steadily, almost imperceptibly, until the previous order reveals itself in a new form. After the sun has bleached out all artifacts of our late anthropocene, and the lava has solidified back into cracking stone, we dream to ride the thing which breaks us. To reappropriate the constancy of our systems.

FIGHTING 4 FEAR


stage and costume design
directors: Klara Kirsch, Milena Bühring and Enrico Bordieri
at Ballhaus Ost



Rhythm, counters, screams, sweat and kicks – is there also room for fear in martial arts training, which is generally associated with aggression and fearlessness? Based on research into the relationship between female fear and patriarchal dominance culture, the multimedia performance explores martial arts as a means of transforming fear into strength. Is it possible as a woman to reclaim a historically male-dominated place and find a new form of togetherness within the rules?

The artists Milena Bühring and Klara Kirsch team up with young kickboxers Aylin Telli, Paulina Karam and the dramaturge Enrico Bordieri. Between gym, TikTok, academic feminism and the reality of life for migrant teenage girls, the team tries to find a way of dealing with fear that can withstand the ambivalence between fantasy and real threat. Will it come to a fight?

The stage is characterized by two walls, each showing the same logo. It could be a martial arts logo. Below the logo is written FIGHT and FEAR, like two sides of the same coin. These panels turn into screens multiple times. A large metal ring hangs above the stage. This later retracts and becomes a fighting ring.

SCREEN PLAY


video, stage and costume design
Choreography: Hannah Schillinger
at DOCK11 Berlin



A traveler encounters landscapes impacted by the climate crisis to recalibrate the body as a site of entangled forces.

Between summer 2022 and spring 2023, Hannah Schillinger embarks on small journeys throughout Germany to encounter landscapes impacted by the climate crisis, investigating the forces and resonances interweaving these places and her own body. Amongst them are the disappearing glacier „nördlicher Schneeferner“ on the Zuspitze, the burned forests of Saxon Switzerland and the coal mine „Welzow Süd“ in Brandenburg.

360° video documentations of those meetings, physical remnants and body memory become the source material for „screen play“, Hannah Schillinger’s first work after graduating from the MA Choreography at HZT Berlin. In dialogue with video, sound and light, Schillinger explores the body as a virtual screen and traveller. Navigating through co-existing micro worlds, she plays with transmitting and transmuting images and forces. Sculptural fragments, movement experiences, emotional and reflective spaces become activated, until spheres begin to blur and body and space become reconfigured.

Foto: Alicja Hoppel

RUNNERS


space/ costume design
Choreography: Hannah Schillinger
at Reinbeckhallen



The run in the wheels of late capitalism is fading out. What follows, is a collaborative preparation of the ground for a sustainable future. Energy transition means retreating from fossil fuels and shifting more and more to regenerative sources of energy.

If we look at this process through the perspective of the body, questions arise: How can I protect myself from exhaustion and end (self)exploitation? What helps me to regenerate my energy? What are the sources I access for this purpose? How can we support each other in this process?

The dance performance runners sets out to investigate how loops of exhaustion can be transformed and modulated as continuous processes of recalibration, regeneration and resourcing.

In a universe situated on the edge of the now between future pasts and ancient futures, the performers are navigating through technological and virtual forms of labour, which we are developing, cultivating and projecting today.

The runners’ bodies are multidimensional: deeply material, fully vibrational, really virtual and still just totally human.

In a field of information between quantum physics, agriculture, sports, labour and dance, the runners are modulating energetic structures in shared responsibility to explore possibilities of collaborative regeneration.

Foto: Alicja Hoppel

KANAL | канал


video and stage design
costume design in collaboration with Şirin Özdin
directors: Anastasija Bräuniger und Linus Lutz
at Theater Erlangen


HETEROTOPIE MORIA


Stage and video design
Director: Anastasija Bräuniger
at HfS Ernst Busch



People stuck in the mud for years, overcrowded tent camps, illegal push-backs at sea. The catastrophic situation for refugees off and on the Greek island of Lesbos reveals the impending failure of the European Convention on Human Rights.

Five characters - based on five real experts and selected in a months-long research process - tell their stories and perspectives: A Greek farmer whose 300-year-old olive trees are repeatedly cut down by refugees for firewood, a German human rights lawyer from Bavaria who stands up against post-colonial injustice in Moria, a former Greek NGO worker, the Austrian political scientist and architect of the EU-Turkey deal Gerald Knaus and the Swedish EU Commissioner for Home Affairs, Ylva Johansson, who is working on her challenging mission. The audience finds itself in the middle of conflicting perspectives and is guided by a voice who has survived arriving in Europe.

What do places like Moria say about us as Europeans, what do they say about the European idea? Looking at international law and agreements such as the Geneva Conventions: who bears political responsibility for the humanitarian situation and the violations at the EU borders?

PROTEST4


Stage, costume and video design
Director: Anastasija Bräuniger
at Theater Erlangen



PROTEST4 / documentary devised theatre, 2020, 120min, German and English
Theater Erlangen, premiere 12.09.20
Winning concept of the Regienachwuchswettbewerb 2020 (young stage direction contest) at Theater Erlangen / Vol. IV Umbrüche
supported by Goethe Institute Chile
photos: Jochen Quast

PRESS

Extract from Nachtkritik / the Regienachwuchswettbewerb 2020 (Young Stage Direction Competition) jury's statement :

"The concept is convincing on several levels: It is theatrical, open to real encounters, pursues a concrete political approach yet manages to appear both playful and light. The concentrated energy, the uncompromising seriousness, the curiosity about other people and their lives and last but not least the humour of the submitted concept give hope for a project that manages to connect and enrich different people in different countries.”
FULL ARTICLE (GERMAN)

Extract from Erlanger Nachrichten, 15.09.20:
"The winner of the Erlangen Theatre's Young Directors Competition does not venture onto dramaturgical ice, but thinks through her subject and its staging in all directions. (...) A multi-perspectival juxtaposition and coexistence that serves its purpose perfectly (...) The director cunningly lets the actors stage the possibilities and pitfalls of the play. (...). A daring, but functioning course.
FULL ARTICLE (GERMAN)

Extract from Bayrischen Staatzeitung, 18.09.20:
"The (theatre) here becomes a reflection of the real world, a space for reflection. PROTEST4 clearly has a political dimension that informs but not in a schoolmaster way. The viewer is left to think for himself (...) Chamber theatre - with immediate proximity to what is happening - which sharpens the view of the subject and makes one ask about motives and those rebelling. The winning concept works, remains exciting and lively throughout."
FULL ARTICLE (GERMAN)

PROTEST 4 focuses on the personal stories of young protesters from Beirut, Santiago de Chile and Hong Kong and their relation to the social movements.
What would prompt me – actor, theatre maker, member of the audience, member of a society – to take to the streets. What kind of circumstances, events, coincidences make a person change from being a (mere) observer to being an active protester? And what can we learn here from each other – geographical, national and cultural borders notwithstanding?


LANDSCHAFT IM STURZ


Stage and costume design
Director: Anastasija Bräuniger
at HfS Ernst Busch



In Landschaft im Sturz Icarus draws circles at the bottom of the sea long named after him. Around the abstract sculpture on the mirror-smooth stage and around himself. This Icarus questions his story, tries to remember, to make himself understood to us, and he rages. Who should hold the narration about what his flight and fall means? Who is to know wether we haven't always left some parts out? Perhaps the over centuries repeated story about the one who wants to fly higher and higher, who presumes to be the hero who overcomes all resistance and is punished for it, who falls and falls - perhaps this story overlooks the essential. The somewhat crooked mouth of Icarus, the time before the much sung about and supposedly failed heroic journey, the father, who himself always flew away from Brueghel's oil painting, while the son disappears into the sea. "Thanks, Pieter Brueghel, thanks! You must paint me, but then you paint me as a crazy bum who plops into a pond..."

Landschaft im Sturz reveals itself as an evening in seemingly disparate images - and in different disciplines - when we suddenly discover a naturalistic installation in the ebbing of the desperately comical monologue monolith of Icarus in our backs, behind the rows of seats. This installation is not a great myth of the world conquest, nor is it the meaningful emptiness of the seabed or the theatre stage: a simple living room, a narrowly defined space of an old woman - a relative? - who reads in her armchair, who quietly mumbles about what she has lost, sometimes looking out of the window into a landscape that may only vaguely coincide with what she remembers.

The following third picture of Landschaft im Sturz is again a completely different one, but perhaps it is a parenthesis: At first on the TV, but soon also on the big screen in the background of the stage, the astronaut appears in his capsule, fresh from the dream factory, with the right soundtrack, with the right messages from Earth. Is he the missing person? Will he carry out the attempt for which Icarus is atoning over?

KASPAR HAUSER - KILLJOY


stage and costume design
director: Anna Kücking
at Heimathafen Neukölln



Kaspar and Emire grew up in youth welfare. In residential groups and foster families, amidst labeled Kellogg boxes, grating visits from the authorities and sentences that nobody wants to hear. A few years later, they meet again in Berlin. But a lot has changed since they lived together in the facility. How do you preserve and connect memories when people are absent? Who has the opportunity to remember and who doesn‘t? And what does it mean to grow up without parents in a society that declares family to be the greatest good?

From Kaspar Hauser to Harry Potter to Momo - children who do not grow up with their parents are important figures in literature and pop culture. As charismatic and mythical figures, they hover between concepts of autonomy and self-determination, resistance and adaptability. But what is the real situation of children who do not live with their parents? What experiences do young people who grow up in youth care have - and how do they experience them in adulthood? How can they remember their childhood, which hardly anyone can testify to because of the many changes? The stage is the sea that the players long for and in which they sink. It is the launch ramp that ends only in the steel wall of the industrial kitchen, where they wash up in the evening and which then becomes a projection screen for memories.

BE MY MAN


Stage and costume design
Director: Tjörvi Lederer
at HfS Ernst Busch



„He's gotta be strong, and he's gotta be fast, and he's gotta be fresh from the fight.“
BE MY MAN is a play about men. It tries to be an honest portrait of young manhood in the 21th century, by reflecting the role of men in our society and showing a new healthy manliness in a playfull and self aware way. The actors talk about their life experiences and their own manlyness. Fears, insecurities, desires and dreams, community and pressure, rock bands and sport teams. An uncompromising evening in which they talk about things the actors, and probably most men never talk about.

ECTORIDERS


Installation and set design
Directors: Milena Bühring, Lisa Kaschubat, Klara Kirsch
ffffilm productions



ECTORIDERS revolves around Mimi, a late-night saleswoman, Kay, a businesswoman, and Yv, a programmer, who find themselves in an endless game show due to unexplained circumstances. In a futuristic cab, they are led into parallel universes and have encounters that raise questions about solidarity and parenthood in a heteronormative, patriarchal, and capitalist society. Drawing on various feminist movements as well as personal experiences, the film combines aesthetic strategies from pop culture, commercial film, and media art. The video work is shown together with the prop of the cab, in which viewers sit in the seats of the three main characters. Within the immersive experience, levels of fiction and reality intertwine, allowing the audience to position themselves in relation to the film.

NEVER LOOK BACK


collective video performance
with Milena Bühring, Jan Fleischer, Klara Kirsch, Sugano Matsusaki, Rocio Marano and Ana Sommer-Madison.
at Staatsoper Unter den Linden



Ispired by the means of popculture and social media we tell the myth of Orpheo in all it´s inconsistency and plurality with a postmodern gaze where information is democratised.

MARIA MAGDA


video design
Director: Theresa Thomasberger
at Theater Münster



In Svenja Viola Bungartens drittem Stück MARIA MAGDA trifft Horror auf Diskurs. Maria ist eine Schläferin und wird von ihren verzweifelten Eltern auf ein Kloster-Internat für schwer erziehbare Mädchen geschickt. Es heißt im Kloster der Magdalenerinnen sei einst der Hexenjäger Heinrich Kramer bei lebendigem Leibe verbrannt worden. Es heißt sein Geist geht um. Oder ist es doch der heilige Geist höchstpersönlich? Erst vor zwei Monaten ist ein Mädchen verschwunden. Das Mädchen, in dessen Bett nun Maria schlafen soll. Was verheimlicht ihre neue Zimmernachbarin Magda, welche verborgenen Kräfte schlummern in ihrer Freundin Hildie und was summt die Oberschwester Mutter Väterin nachts allein auf dem Gang vor sich hin? Wer ist hier Hexe und wer ist Nonne? War die unbefleckte Empfängnis in Wirklichkeit eine Vergewaltigung? Und ist Gott eigentlich ein Hund namens Chayenne? In MARIA MAGDA dekonstruiert Bungarten schonungslos misogyne, antifeministische und ausbeutende Erzählungen von Weiblichkeit und Sexualität. Dieses Stück ist ein Gewaltakt und eine Persiflage auf das Patriarchat.

VISUALIZATIONS

SET MODEL

EXHIBITION AT TLU



Photography and exhibiton
During a semester in Tallinn, Estonia I shot a couple of photo series. They were shown as 28 prints in A3+ and A2 at TLU (Tallinn University) as a solo exhibition for three months.

RIFUFU - OR HOW EVERYTHING WENT WRONG


Set and costume design
Director: Eduardo Scussel
short film by dffb (german film and television academy berlin)

HALBSCHATTEN


Set design
Director: Sorina Gajewski
short film by dffb (german film and television academy berlin)

CV

2018 - 2024
Studies of stage design at Universitaet der Kuenste Berlin

2024
stage and costume for "Fighting 4 Fear" at Ballhaus Ost

2024
stage and costume for "Kaspar Hauser - Killjoy" at Heimathafen Neukölln

2023
stage and costume for "LOT" at Schwere Reiter München

2023
3D animation for "A long story about our baby" at Treibstoff Basel

2023
Stage, video and costume design for "Screen Play" at DOCK11 Berlin

2023
Stage, video and costume design for "KANAL | канал" at Theater Erlangen

2022
Exchange semester at École Superior National des Artes Decoratives in Paris

2021
Video design for "Maria Magda" at Theater Münster

2020
Stage, costume and video design for "Protest4" at Theater Erlangen

2019
Stage and costume assistent at HAU for "Laibach - wir sind das Volk"

2018
Internship at the stage design department of Komische Oper Berlin working for Michael Levigne and Robert Carsen

2018
Internship at the stage design department of Schaubuehne Berlin working for Jan Pappelbaum and Thomas Ostermeier

2017/18
Exchange semester at Baltic Film and Media School of Tallinn University

2017/18
Solo exhibition of my photography art at Tallinn University

2017
Working as a photographer for Müürileht an estonian magazine about art, music and culture

2017
Internship in the camera department at "Der Schweinehirt" Neue Schönhauser Produktion

2017
Internship in the camera department at "Der Kriminalist" H und V Entertainment

2017
Cameratrainee at "Die Flucht ins Ungewisse" Bavaria Film

2017
Internship in the camera department at Cinegate

2016/17
Studies of timebased media with the focus on film at Hochschule Mainz

2015/16
6 month inernship at the ZKM (center for art and media) Karlsruhe

2014/15
Masterclass scolarship for students being especially talented in arts at the ZKM in Karlsruhe, with an exhibition of the artwork produced during the scolarship that was shown for one month at the ZKM

2013/14
1 1/2 years working at the arthouse cinema called Schauburg

EXPERTISE

languages
- german mother tongue
- english C1
- french A2

PC expertise
- Blender
- Twinmotion
- Rhino
- Adobe Suite
- espacially in Premiere and Photoshop
- ArchiCAD, AutoCAD
- Unity

technical
- expertise with cameras by Arri, Sony, Black Magic, Nikon, and Canon
- lightning

CONTACT



Louis Caspar Schmitt

louis@luxyluke.de

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