Directing

Movement as language on stage

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Directing

Movement as language on stage

Alles lebt, alles webt!

Directing concepts

Through his teaching work at the Weimar School of Music, Paul Enke has been able to try his hand at directing and has developed a musical stage language that places the body in motion at the center of his work. Genre plays and insignificant role – anything can be presented and everything with social relevance has a place on the stage.

The focus of Enke’s current research, working with opera students at the Liszt School of Music, has been to investigate the fascinating line that runs between speaking and singing, as well as the connection between vocal expression and physical movement. The motto “alles lebt, alles webt“ (“everything lives, everything weaves/ comes together”), is the foundation for Enke’s style of research and directing.

His work tries to survey the boarder between vocal and theatrical studies: When is the normal speaking voice not adequate enough for the actor, what brings them to sing? What is the advantage of using the performers singing voice? When do they begin “to speak” again? How long can / should one let an instrumentalist hide behind the instrument? These questions are always accompanied by the challenge of our body in motion. In addition to dialog studies for masters-level-students Paul Enke is also responsible for coordinating and directing the vocal institute’s studio production at the end of the second year.

Recent Productions

At the Liszt-School of Music in Weimar

2014

„ Durst & Drang – so gieß ich aus mein Leben “

„Durst & Drang – so gieß ich aus mein Leben“

Combined pieces of Monteverdi, Strozzi und Frescobaldi, as well as text by Goethe, Möricke, Tagore and T. Mann.

Including the world-premiere on Tagore’s

„Der Wasserfall erwacht“.

Composition: Alex Vaughan

Musical direction: Gerd Amelung

Photography: Andreas Trapper

2015

„Durch einen Spiegel“

A play on two levels

World-Premiere of a brandnew composition on Goethe’s

„Jahrmarktsfest zu Plundersweilern“.

Embedded in there: the biblical story of Esther with pieces from

Handel’s Esther-Oratorio.

Composition: Alex Vaughan

Musical direction: Gerd Amelung

Photography: Andreas Trapper

2016

„MACHT.SPIELE“

with essential material from Monteverdi’s  „L’incoronatione di Poppea“ combined with evergreens from early german talkies

Costume arrangements: Friederike Lettow

Musical direction: Gerd Amelung

Photography: Maik Schuck