Heiner goebbels biography of william
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Cornell Chronicle
Wonge Bergmann
Composer and director Heiner Goebbels.
Renowned composer and theater director Heiner Goebbels will visit Cornell March 7-17 as an artist-in-residence with Cornell's Institute for German Cultural Studies. Goebbels will interact with students and faculty across campus who are involved with theater, film, music and literature.
Goebbels will give a public lecture, "Aesthetics of Absence: Questioning Basic Assumptions in Performing Arts," March 9 at 4:30 p.m. in the Schwartz Center's Film Forum, followed by a reception in the Schwartz Center lobby.
"Heiner Goebbels is especially good at thinking outside the box and encouraging his audiences to do the same," said Leslie Adelson, director of the Institute for German Cultural Studies. "If you think you know what musical composition, theatrical performances and literary writing mean, his works and reflections will make you think again and be very glad you did."
He will lead a seminar, March 11, 6:3
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Heiner Goebbels
German composer and theatre director (born 1952)
Heiner Goebbels (born 17 August 1952) is a German composer, conductor and professor at Justus-Liebig-University in Gießen and artistic director of the International Festival of the Arts Ruhrtriennale 2012–14. His composition Stifters Dinge (2007) received five votes in a 2017 Classic Voice poll of the greatest works of art music since 2000,[1] and writers for The Guardian ranked his composition Hashirigaki (2000) the ninth greatest classical composition of the same period.[2]
Biography
[edit]Goebbels was born in Neustadt an der Weinstraße.[3] He studied sociology and music in Frankfurt am Main,[4] and has composed for ensemble and for large orchestra. He has created several prize-winning radio plays, staged concerts, and, since the early 1990s, music theatre works, which have been invited to the most important theatre and music festivals worldwide.[5] • Photo by Takuya Matsumi Thank you for this wonderful invitation. First I would like to give some insights into my productions and what I call the “Aesthetics of Absence.” My latest production, for example, was Louis Andriessen’s De Materie (The Matter), which inom staged in 2014. I sometimes call this work a Copernican shift of the opera, because it is the opposite to any other opera I know: the human beings are not at the very center of attention but rather the reflection of the relationship between mind and matter. The themes are physics, political emancipation, religion, sexuality, art history, love, and death. Except at the very end, there are no performers in the fourth act of Andriessen’s score. In my production inom tried to choreograph 100 sheep in a huge vast space with a Zeppelin circling above them. It was one of my most moving experiences as a director and, I think, a very moving experience for the spectators, too. Since there were no human beings on stage, it meant y