EN Course Catalogue 2022/23 Autumn Semester
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Master-Campus Theater CH
List of courses / module descriptions
2022/23 Autumn Semester
Course Catalogue
2022/23 Autumn Semester
EN
1Master-Campus Theater CH
List of courses / module descriptions
2022/23 Autumn Semester
Table of contents
Zurich courses
Freiräume ......................................................................................................................................................................... 4
Workshop 1.1: Autorenschaft – der spielende Körper als Autor ..................................................................................... 5
Workshop 1.2: Raum – Rhythmus – Timing ..................................................................................................................... 6
Workshop 2.1: Masterfuge MEINE RUH IST HIN .............................................................................................................. 7
Workshop 2.2: Storytelling through Puppetry & Sound................................................................................................... 8
Workshop 3.1: “Turning towards the desert” – The Landscape of the Breathing Soul.................................................. 10
Workshop 3.2: Jazz im Schauspiel .................................................................................................................................. 12
Institutionen überschreiben: Gespräche mit meinem Theater ...................................................................................... 14
OUR REALITY ON STAGE IN DIFFICULT TIMES ................................................................................................................ 16
Berne courses
Kick-Off Days .................................................................................................................................................................. 18
Manifesto – Solo ............................................................................................................................................................ 19
Frankenstein’s shadows: project with MOTUS............................................................................................................... 20
LAB ................................................................................................................................................................................. 22
Master Thesis Modul – Einführung Konzept / Projektmanagement .............................................................................. 23
Acting Portfolio 2............................................................................................................................................................ 24
Physical Training ............................................................................................................................................................. 25
Master Colloquium ......................................................................................................................................................... 26
Stimm-Training für Nichtschauspieler*innen ................................................................................................................. 27
Blenden und Blinde. Zu den Gesetzen des Bildes........................................................................................................... 28
Ecologies of Collaboration .............................................................................................................................................. 29
Transformance ............................................................................................................................................................... 30
In every sense. With every sense. .................................................................................................................................. 31
Masterclass with SIGNA ................................................................................................................................................. 33
Stimmperformance ........................................................................................................................................................ 34
TIME IS OVER. A workshop on time in performance ...................................................................................................... 35
Workshop with Florentina Holzinger ............................................................................................................................. 36
«Das neue Planetarium» – Performative Zukunftsexperimente im Rahmen der grossen Transformation ................... 38
Zuhören, nachfragen, transkribieren, arrangieren, montieren ...................................................................................... 40
Research toolbox on the annual theme: Critical Care, in Practice and Theory .............................................................. 41
Research Toolbox: Authorship — Authority? ................................................................................................................. 42
Research toolbox on the annual theme: Intergenerational Experiments with Nature Songs........................................ 43
Research toolbox on the annual theme: Die Wildnis im Kasten: Grundlagen Künstlerischer Forschung ...................... 44
Forschungs-Mittwoch..................................................................................................................................................... 46
Kolloquium Institut Praktiken und Theorien der Künste ................................................................................................ 47
Synapse HKB: Projekt-Mentorat f. «Künste im Kontext – ein Zukunftslabor» ............................................................... 48
Verscio courses
Campus Week................................................................................................................................................................. 49
Thinking Theatre ............................................................................................................................................................ 50
Artistic Biography ........................................................................................................................................................... 51
The carnivalesque body.................................................................................................................................................. 52
Puppetry and Disability .................................................................................................................................................. 53
2Master-Campus Theater CH
List of courses / module descriptions
2022/23 Autumn Semester
Lausanne courses
Workshop with Alexandre Barry .................................................................................................................................... 54
Workshop with the collective Old Masters .................................................................................................................... 55
Workshop with Philippe Gladieux .................................................................................................................................. 56
Workshop with Aristide Tarnagda .................................................................................................................................. 57
3Master-Campus Theater CH
List of courses / module descriptions
2022/23 Autumn Semester
Target group Teaching language
All BT BN MS RE ET SC TP DR LK E D F I
x x
ZÜRICH, ZHDK
ZH02 Freiräume
Module type: Fields of practice BN, DR, RE, SC, TP: elective
Collective work
Dates (from/until): Week 38 to Week 3 / kick-off 19 September 2022
Once per week throughout the entire semester
Times: 1st session on 19 September 2022 / 18:00
The weekly follow-up sessions will then be determined jointly
Room (if known): Seminar room
Number of participants: 4-16 ECTS: 2
Prerequisites: Students who live in the Zurich area and/or are able to commute to the city on a regular
basis
Responsible: All course participants, accompanied by Christopher Kriese
Teacher: All course participants, accompanied by Christopher Kriese
Learning objectives: Through peer learning and collective collaboration on concrete projects, the participants will
develop and test collaborative forms of curation. Together, the students will develop formats
for encounters and design spaces in which they can present their work. The emerging formats
and modes of collaboration will serve as sketches for a theatre of the future.
Content: - To create opportunities for students to meet, to promote exchanges and to give them
the opportunity to show and discuss works that they have developed independently
(establishing a common culture)
- To continue to offer formats for follow-up discussions in order to provide diploma
projects with more space for reflection processes and feedback opportunities
(appreciation of the work being produced)
- To enable the students to define focal points in their own formats and also to invite an
external audience to exchange ideas with us (encounters with the real world)
- To communicate all activities in our own way, to find and cultivate our own language and
to devise a contemporary and appealing “look”
- To test collective work in practice and experiment with sketches for new forms of
curation and leadership
- We seek new, less complicated spaces and gaps in which we can freely perform. We aim
to cooperate with partners from the independent scene
Literature used:
Comments/biographies: The “Collective of the Arts”, which came into being as part of the module series
“Freiräume”, has already been developing curatorial formats for several years. The festivals
and events organised by the Collective of the Arts have been shown in digital space, at the
Theater der Künste and at the Schauspielhaus Zurich. We will probably be looking for a new
partner organisation for the 2022 Autumn Semester. New participants are always welcome
and may contact Christopher Kriese in advance if they have any questions:
christopher.kriese@zhdk.ch
Christopher Kriese, born in Kassel in 1987, grew up in Brazil and Germany and studied
theatre direction at the Zurich University of the Arts. After completing his Master's degree,
he now works as a teaching assistant in the BA Directing programme and contributes to the
university’s international projects. He is also a member of the collective “Neue
Dringlichkeit”, which uses various formats to explore the fluid boundary between art and
activism.
4Master-Campus Theater CH
List of courses / module descriptions
2022/23 Autumn Semester
Target group Teaching language
All BT BN MS RE ET SC TP DR LK E D F I
x x x x x x x x
ZÜRICH, ZHDK
ZH05 Workshop 1.1: Autorenschaft – der spielende Körper als Autor
Module type: Field of practice SC: seminar/exercise
Field of practice RE, DR: elective
Dates (from/until): Week 40/41 (3 to 14 October 2022)
Times: 11:00-16:00 (except Tuesdays)
Room (if known): Rehearsal stage
Number of participants: 4-10 ECTS: 2
Prerequisites: MA Acting, Master Theatre & partner schools
Responsible: Peter Ender
Teacher: Leon Ospald
Learning objectives: In this seminar, we will explore the question of what it means and can mean to
generate/produce texts as a player. More and more directors are asking their ensembles to
be involved in the rehearsal process as text producers. How can rehearsals, plays and
improvisation be used to write texts independently? What characterises the authorship of a
player? The seminar is intended to open up access to independent writing for the participants.
This raises the question whether and to what extent the players' private experiences should
and can be expressed. What form can be worked out so that the individual behind the role
emerges from it but without presenting a purely personal text? And what transformations are
necessary for this to happen?
Content: - Writing: initial approaches
- Writing as a process
- Methods for the first impulse
- Improvisation, discussion, music and movement as impulses
- Sketching of ideas
- Examples: Yael Ronen (working methods, pieces)
- Making decisions for a text
- Elaboration and shaping of an idea
- If possible: working out a scene/a realisation of the students’ own text ideas/texts as a solo
or ensemble work
Literature used: TBA
Comments/biographies: Leon Ospald, born in 1989, trained at the Hamburg School of Acting, followed by engagements
as an actor at the Hamburg Kammerspiele and as an assistant director at the Schauspielhaus
Hamburg and at the HfMT Hamburg. Studied at the Academy of Performing Arts Ludwigsburg.
Graduated from the UdK Berlin in scenic writing. Since 2017, he has also been working as an
author (published by Henschel – Schauspiel).
5Master-Campus Theater CH
List of courses / module descriptions
2022/23 Autumn Semester
Target group Teaching language
All BT BN MS RE ET SC TP DR LK E D F I
x x x x x x x
ZÜRICH, ZHDK
ZH06 Workshop 1.2: Raum – Rhythmus – Timing
Module type: Field of practice SC: seminar/exercise
Field of practice RE: elective
Dates (from/until): Week 40/41 (3 to 14 October 2022)
Times: 14:00-18:00 (except Tuesdays)
Room (if known): Rehearsal stage
Number of participants: 4-10 ECTS: 2
Prerequisites: MA Acting, MA Directing & partner schools
Responsible: Peter Ender
Teacher: Michael Moritz
Learning objectives: The module “Raum-Rhythmus-Timing” (space-rhythm-timing) will examine and convey the
laws and conventions of storytelling stagecraft. In addition, the students will learn what
provokes the “cut in the spectator’s head”. How and why does the spectator’s eye jump
from the long shot of the stage to the close-up of a prop or the face of a performer? What is
the significance of the physical principles of balance and imbalance? What role do the
musical components of harmony and dissonance play? How can space be used in this
process? How important are the time-related parameters of rhythm and timing?
Only when these basic principles can be used in a conscious manner does it make sense to
break with convention, turning this rupture into a deliberate act rather than an accidental
while displaying a stance on the subject at hand.
Content: The students will learn how and why audiences can be “touched”, and how attention can be
captured, held and directed.
Literature used: TBA
Comments/biographies: Michael Moritz was born in 1968 in Freiburg im Breisgau and studied acting at the Folkwang
University in Essen. Afterwards, he worked as an actor and choreographer for fight, fencing
and slapstick scenes at German-speaking theatres (e.g. Staatstheater Stuttgart, Schauspiel
Zurich, Burgtheater Vienna, Volkstheater Vienna, Thalia Theater Hamburg). In recent years,
he has worked mainly as a director at international theatres (Tirana, New Delhi, Bergamo,
Dublin, Yaoundé, Salzburg, Berlin, Eisleben) and as a lecturer at drama schools (National
Drama School Delhi, Konservatorium Wien, Zurich University of the Arts, Max-Reinhardt-
Seminar Vienna).
6Master-Campus Theater CH
List of courses / module descriptions
2022/23 Autumn Semester
Target group Teaching language
All BT BN MS RE ET SC TP DR LK E D F I
x x x x x x x x
ZÜRICH, ZHDK
ZH08 Workshop 2.1: Masterfuge MEINE RUH IST HIN
Module type: Field of practice SC: seminar/exercise
Field of practice RE, DR: elective
Dates (from/until): Week 44/45 (31 October to 11 November 2022)
Times: Mon/Wed/Thu/Fri, 11:00-16:00
Room (if known): Rehearsal stage
Number of participants: 4-10 ECTS: 2
Prerequisites: MA Acting, MA Directing, MA Dramaturgy & partner schools
Responsible: Peter Ender
Teacher: Hilde Stark
Learning objectives: The aim of this module is to create a performance that includes images as well as the two
themes. What is the difference between creating a piece as a soloist or as a group? What is
easier, when and why? Or is that not the case at all?
Content: A fugue is a musical principle consisting of at least two themes (and a counterpoint). We
want to follow this principle by means of research and improvisation.
Years ago, when I stood in front of the painting DER NACHTMAHR (The Nightmare) by the
Zurich painter Heinrich Füssli, I was amazed. It was my nightmare that I saw in it. Although it
was painted a long time ago, it was my (at that time recurring) dream. Which painting was/is
first (which matrix, life, dream, the border between them; is that the place of art)?
“MY PEACE IS GONE, my heart is heavy, I shall never ever find peace again.”
These lines by Gretchen and the painting form our first theme, to which we will devote
ourselves together. The second theme will be the creation, the fantasy of “your” own
nightmare, whether from art, a dream interpretation, a child’s drawing, etc., whatever
inspires you to create a solo performance. And then we will gradually weave both themes
together into our fugue through improvisation.
There is also a counterpoint, perhaps it is painting DIE EINSAMKEIT BEI TAGESANBRUCH
(Loneliness at Daybreak)? (There is also such a thing as a fugue in our heads).
Literature used: TBA
Comments/biographies: Hilde Stark – director
Die Frauen von Trachis / Herr Geiler & Satyros (premiere) / Romeo und Julia / Methusalem
oder Der ewige Bürger / Im Dickicht der Städte / Falada (opera) / Die Soldaten / othello zb /
Arabische Nacht / Wir wenigen Lebende
Lecturer in acting & directing
2004-2009 Academy of Dramatic Arts “Ernst Busch” Berlin – teaching & mentoring (scene
studies, monologue work, entrance exams, position as artistic assistant, etc.)
From 2008-2013, she established the acting course at the Academy for Performing Arts
Baden-Württemberg – teaching & mentoring in acting & directing (collaboration with Luk
Perceval & Thomas Zielinski / cooperation with the Film Academy Baden-Württemberg,
productions, curriculum, workshop with Harald Schmidt, etc.)
2013 lecturer at the Shanghai Theatre Academy
In 2013/2014, she developed the digital culture platform rhizomania (in cooperation with
Birgitt Riepl, screenwriter)
7Master-Campus Theater CH
List of courses / module descriptions
2022/23 Autumn Semester
Target group Teaching language
All BT BN MS RE ET SC TP DR LK E D F I
x x x x x x x
ZÜRICH, ZHDK
ZH09 Workshop 2.2: Storytelling through Puppetry & Sound
Module type: Field of practice SC: seminar/exercise
Field of practice RE: elective
Dates (from/until): Week 44/45 (31 October to 11 November 2022)
Times: 11:00-13:00 & 14:00-16:00 (except Tuesdays)
Room (if known): Rehearsal stage at the Toni-Areal (with a piano)
Number of participants: 4-10 ECTS: 2
Prerequisites: MA Acting, MA Directing & partner schools
Responsible: Peter Ender
Teacher: Anna Paniccia & Danny Exnar
Learning objectives: The students will create their own musical puppetry/object performances
Content: In puppetry, puppets take centre stage while the actors themselves stay in the background,
as the focus is on the puppets. The performers speak, think, feel, sing, make music, produce
sounds and move for and through them. In contrast to acting, the aim is to create an out-of-
body character, which opens up new possibilities for the performers.
The students are encouraged to create their own characters, to develop their own voices,
sounds and songs for them, and to perform their stories through improvisation. The basics
of puppet-making and puppetry will be taught in parallel.
Literature used: TBA
Comments/biographies: Anna Maria Exnar-Paniccia. Puppeteer and puppet builder. Born in Columbus, Ohio, USA.
She completed her high school studies at the Interlochen Arts Academy and earned a
Bachelor in Fine Arts from Webster University Conservatory of Theater Arts in St. Louis,
Missouri. During her studies, she was an intern with “Puppet Heap” in New York City. After
she finished her studies, she got a permanent position as a Puppet Builder with “Puppet
Heap” where she stayed until 2012. During her time at “Puppet Heap” she worked on many
productions including the two Disney films “The Muppets” and “Muppets Most Wanted”. In
2011, she participated in the international puppet tour “Puppets Beyond Borders” in
Thailand, Cambodia and Myanmar and built the puppets for the musical theatre production
“Glenn Gould vs Glenn Gould” (2011). She immersed herself in Czech stop-motion animation
in Prague (2013) and Balinese shadow puppetry in Bali, Indonesia (2011). Since 2013, she
has lived in Berlin, where she collaborated with the puppet theatre collective “das Helmi” on
the production “Now! Now! Neverland!” and in a puppetry slam with Renè Marik. In 2015,
she co-directed a piece at the Creede Repertory Theater, Colorado, USA. She leads
workshops for all ages in puppet performance and puppet building in Germany and
Switzerland. Together with the actor and musician Danny Exnar, she creates her own puppet
shows for children and adults.
www.annapaniccia.com
Danny Exnar works as an actor, narrator and pianist. Born in Liestal in 1981, he initially
studied piano in Prague (jazz and classical music), then two semesters of philosophy and
German in Bern. In 2007, he completed his acting studies at the Otto Falckenberg School of
the Performing Arts in Munich. He also teaches piano at the Swiss Jazz School in Bern and
the Neue Jazzschool e.V. in Munich. In his work, he focuses on the combination of acting and
music. During his acting studies he performed at the Munich Kammerspiele and at the
8Master-Campus Theater CH
List of courses / module descriptions
2022/23 Autumn Semester
Landestheater Tübingen, where he was a member of the permanent cast until 2009. He also
pursued further acting training in English at the Juilliard School in New York. Since 2009, he
has appeared on stage as an actor, pianist and musical director at the Düsseldorf
Schauspielhaus, the Schauspielhaus in Zurich, the Treibstoff Theatertage Basel, Theater Biel-
Solothurn and the Theater Stadelhofen in Zurich. In 2015, he also began to appear in film
and television productions. In the same year, he produced a study on the pianist, composer
and international fabulist A.N. Scriabin, together with Tumasch Clalüna and Thomas Giger.
He has repeatedly collaborated with Anna Paniccia on puppet shows for children and adults,
and he regularly narrates for various programmes, including NZZ Format and the SBS (Swiss
Library for the Blind, Visually Impaired and Reading Impaired). In 2018, he founded the band
“The Guerrilla Bops”. In 2004, Danny Exnar received the O.E. Hasse Prize from the Berlin
Academy of the Arts, and in 2007 the sponsorship prize of the Armin Ziegler Foundation.
www.dannyexnar.com
9Master-Campus Theater CH
List of courses / module descriptions
2022/23 Autumn Semester
Target group Teaching language
All BT BN MS RE ET SC TP DR LK E D F I
x x x x x x x
ZÜRICH, ZHDK
ZH11 Workshop 3.1: “Turning towards the desert” – The Landscape of the
Breathing Soul
Module type: Field of practice SC: seminar/exercise
Field of practice RE: elective
Dates (from/until): Week 49/50 (5 to 16 December 2022)
Times: Mon/Wed/Thu/Fri, 11:00-16:00
Room (if known): Rehearsal stage
Number of participants: 4-10 ECTS: 2
Prerequisites: MA Acting, MA Directing & partner schools
Responsible: Peter Ender
Teacher: Anu Almagro (Salonen)
Learning objectives: The core of the work is learning approaches to physical and vocal techniques that provide
students with the skills for individual research on the body and voice in training and
performance. Research is the very nature of the acting process we will study and which will
then manifest itself in the students’ own investigation into acting. The MA in Acting aims to
train artists to be independent through a programme that gives them the skills, confidence
and methods to develop their own practice.
Content: The main focus of this workshop will be the dynamic body of the ensemble in relation to the
individual performer. The ensemble will be discovered through exercises with common
rhythms, spatial relations and movement improvisations. The physicality of the individual
performer is based on the sensations of the body and dynamic physical practice guiding us
towards the sensitivity of imagination, memories and feelings. We are looking for the
character to arise from our own creative strength and inspiration. The actors’ presence will
be awoken through exercises including work on physical life, the imagination, spatial
awareness, impulses, focus, joy, dance, word/text, rhythm and song, by receiving and giving
support as a living, breathing, moving and sounding ensemble.
The workshop is directed towards practitioners with an interest and experience in theatre,
music and/or dance.
The course will offer students hours of practical training each week, led by Anu Almagro, a
member of the Song of the Goat company who will teach its own unique approach to actor
training. This method, which approaches the performer in a holistic way, involves working
from the body into voice, song and text work. It emphasises the flow between movement,
rhythm and sound, both within the individual and the ensemble, with a view to developing
true partnerships and support within this dynamic. Each of the company members will
approach this from their own particular strength: the voice and its connection to
imagination and deep personal song, working with physical impulses, text, presence and the
state of readiness.
Each student will also have the opportunity for an individual tutorial.
Literature used: TBA
Comments/biographies: Anu Almagro (Salonen) is a Finnish actress, acting teacher and director who has worked
around the globe. Her interest in performance work is deeply rooted in cultural traditions
and is born out of authentic and energetic connection between people, which brought her
10Master-Campus Theater CH
List of courses / module descriptions
2022/23 Autumn Semester
to Poland the first time in 2004. In 2007 she became an actress of Teatr Piesn Kozla/Song of
the Goat Theatre, an international multi-award winning theatre company based in Wroclaw,
Poland. She is also a teacher of the company’s unique Coordination technique. The company
tours throughout the world and has performed at venues such as The BAM, New York and
The Globe, London. Anu’s latest acting roles include Antigone in “Anty-Gone Triptych”,
Ophelia in “Hamlet-a commentary” and Cordelia in “Songs of Lear” directed by Grzegorz
Bral. In 2011 Anu created her own theatre company Odra Ensemble which both rehearsed
and performed “We will leave only bone – reflections of Eurydice” in Wroclaw, Poland and
Thessaloniki, Greece until 2013. She is the artistic director of the musical theatre company
Winged Daughters, which creates work for audiences of children. Their last piece titled
“Enchanted Wings” was supported by and performed at the National Forum of Music,
Wroclaw, Poland. Anu’s latest work as a director, “Voices of Joan”, opened in Newcastle,
Australia in February 2022. The Finland-based company Anu Almagro Actor Training Tmi
accepts invitations to share profound and holistic acting technique workshops with
professional theatre makers as well with students throughout the world.
11Master-Campus Theater CH
List of courses / module descriptions
2022/23 Autumn Semester
Target group Teaching language
All BT BN MS RE ET SC TP DR LK E D F I
x x x x x x x
ZÜRICH, ZHDK
ZH12 Workshop 3.2: Jazz im Schauspiel
Module type: Field of practice SC: seminar/exercise
Field of practice RE: elective
Dates (from/until): Week49/50 (5 to 16 December2022)
Times: 11:00-13:00 & 14:00-16:00 (except Tuesdays)
Room (if known): Rehearsal stage at the Toni-Areal (with piano)
Number of participants: 4-10 ECTS: 2
Prerequisites: - Admission to the MA SC / ET / Jazz & Pop & partner schools
- For MA Acting students: musicality, an interest in improvised music and jazz;
- The ability to play an instrument or sing is desired but not mandatory
- For MA Jazz & Pop students: an interest in theatre, acting, theatre music, a willingness to
present themselves in a scenic/performative way.
Responsible: Peter Ender
Teacher: Danny Exnar
Learning objectives: - The cast is my band
- To learn to see the fragility of improvisation as a strength
- To interweave the playing of instruments, acting, spoken performance and singing
- To sharpen the students’ awareness of rhythm, tension and musicality
- To practice conscious hearing and listening
- What are the parallels between (jazz) improvisation and improvisation in acting / other
types of performance?
- Dramatic authenticity vs. musical authenticity
Content: In the framework of this experimental laboratory, we will investigate the following
questions: How closely can music and acting come together? How can the concept of
improvisation in (jazz) music inspire the students’ acting and performance, and vice versa?
How can we find rhythm, dynamics and melody in speech and spoken performances? How
can we translate concepts from jazz such as “call and answer”, free jazz or improvisation on
a theme into acting performance?
Listening, analysing, playing. Acting and reacting, creating and inventing in the moment.
“There are no false notes” and “Never say no”.
In the course of this workshop, students will create and perform a “story” or “song” of their
own (literally and figuratively). In addition to their own stories, they can also use existing
texts (such as classical monologues, text fragments, poems, text areas, etc.), which will be
deconstructed and woven into the performance, on the basis of improvisation. The
boundaries between acting and musical performance will gradually resolve.
Why Jazz?
Jazz is about improvisation, craftsmanship and flow. Jazz needs a stage to come alive. Jazz is
always live, just like theatre. Both jazz and theatre are about telling a story. Jazz is a form of
stage language that is constantly changing.
Literature used: TBA
Comments/biographies: Danny Exnar works as an actor, narrator and pianist. Born in Liestal in 1981, he initially
studied piano in Prague (jazz and classical music), then two semesters of philosophy and
12Master-Campus Theater CH
List of courses / module descriptions
2022/23 Autumn Semester
German in Bern. In 2007, he completed his acting studies at the Otto Falckenberg School of
the Performing Arts in Munich. He also teaches piano at the Swiss Jazz School in Bern and
the Neue Jazzschool e.V. in Munich. In his work, he focuses on the combination of acting and
music. During his acting studies he performed at the Munich Kammerspiele and at the
Landestheater Tübingen, where he was a member of the permanent cast until 2009. He also
pursued further acting training in English at the Juilliard School in New York. Since 2009, he
has appeared on stage as an actor, pianist and musical director at the Düsseldorf
Schauspielhaus, the Schauspielhaus in Zurich, the Treibstoff Theatertage Basel, Theater Biel-
Solothurn and the Theater Stadelhofen in Zurich. In 2015, he also began to appear in film
and television productions. In the same year, he produced a study on the pianist, composer
and international fabulist A.N. Scriabin, together with Tumasch Clalüna and Thomas Giger.
He has repeatedly collaborated with Anna Paniccia on puppet shows for children and adults,
and he regularly narrates for various programmes, including NZZ Format and the SBS (Swiss
Library for the Blind, Visually Impaired and Reading Impaired). In 2018, he founded the band
“The Guerrilla Bops”. In 2004, Danny Exnar received the O.E. Hasse Prize from the Berlin
Academy of the Arts, and in 2007 the sponsorship prize of the Armin Ziegler Foundation.
www.dannyexnar.com
13Master-Campus Theater CH
List of courses / module descriptions
2022/23 Autumn Semester
Target group Teaching language
All BT BN MS RE ET SC TP DR LK E D F I
x x x x x x x
ZÜRICH, ZHDK
ZH35 Institutionen überschreiben: Gespräche mit meinem Theater
Module type: Field of practice DR: cultural performance & research in practice
Fields of practice BN, RE, SC, TP: elective
Dates (from/until): Week 42 (17 to 21 October 2022)
Kick-off: 11 October 2022 / 17:00-20:00
Conclusion: 13 December 2022 / 17:00-20:00
Times: 10:30-14:00, independent study: 15:00-18:00 (in week 42)
Room (if known):
Number of participants: 3-12 ECTS: 3
Prerequisites: MA Dramaturgy, MA Theatre & partner schools
Responsible: Prof. Dr. Jochen Kiefer
Teacher: Prof. Dr. Jochen Kiefer
Learning objectives: - To elaborate discourses that are critical of institutions
- To design and implement practices of artistic institutional criticism
Content: Since 2020, we have been following the institutional changes in Zurich’s theatre landscape,
largely under the conditions of the pandemic, and are now asking for an (artistic)
institutional critique of theatre, in the wake of debates on the fine arts, neo-institutionalism
and critiques of the canon and representation. After a self-referential excursion into a
critique of the canon at art colleges in the 2022 Spring Semester, we will now return to the
specific case of Zurich’s theatres, which are seeking to reposition themselves under post-
pandemic conditions.
We will meet with dramaturges and artistic directors from the Zurich theatres and ask them
how they are dealing with the challenges posed by the universally proclaimed ‘end of an era’
and economic pressure to transform themselves, both institutionally and in terms of their
programming. Zurich was and still is considered a central place for new institutional
developments in theatre. At the moment, however, these processes themselves seem to be
in crisis and in need of new ideas.
We therefore do not want to be critical but friendly and engage the theatre makers in
conversations about their situation and our own. These conversations will form the basis for
documentary-fictional and dialogue-based transcriptions and for writing letters to and
engaging in a dialogue with a selected theatre – my theatre. These texts about institutional
transformations (past ones, forced ones and future ones) will be published in a small
anthology and given to the theatres of Zurich.
Literature used: - Sönke Gau: Institutionskritik als Methode. Wien: turia und kant, 2017.
- Claudia Schmölders (Hg.): Die Kunst des Gesprächs. Texte zur europäischen
Konversationstheorie. Frankfurt/Main, 1979.
- Malzacher, Florian/ Campenhout, Elke van/ Mestre, Lilia (Hg.) Turn Turtle! Reenacting the
institute. Berlin: Alexander Verlag, 2016
Comments/biographies: Prof. Jochen Kiefer has been working as a dramaturge, project developer and director since
1995. He served as lecturer for theatre practice at the Institute for Theatre and Media
Studies at the University of Hildesheim, programme dramaturge at the Lofft in Leipzig and
chief dramaturge at the Kulturinsel Halle/Saale (for acting and puppetry). He studied cultural
studies and aesthetic practice at the University of Hildesheim and held a doctoral fellowship
from the German Research Foundation (DFG) as part of the interdisciplinary graduate school
14Master-Campus Theater CH
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on “authenticity as participation”. His doctoral thesis on “Die Puppe als Metapher, den
Schauspieler zu denken” (The puppet as metaphor for thinking about the actor) was
published by the Alexander Verlag Berlin in 2004. In 2006 he was invited to the Berlin
Theatertreffen as the production dramaturge for “The Same Sea” (after Amos Oz), and he
was also nominated that year with the world premiere of the “Seefahrerstück” (Seafarer’s
Play). Together with Jos Houben (Paris) he conceived the Stadtverführungen (city
seductions) for the Theater der Welt (Theatre of the World) festival in 2008. Together with
the choreographer Heike Hennig, he developed “Rituale” (Rituals) and “Maria XXX”, dance
operas to the music of George Frederic Handel in collaboration with the Leipzig Opera. Since
2009, Jochen Kiefer has headed the BA Dramaturgy programme within the Department of
Performing Arts and Film at the ZHdK, and in 2017, he was appointed professor of
dramaturgy/head of dramaturgy for the BA & MA programmes. He is currently working on
practices of institutional critique in theatre and the development of a research culture in
and about dramaturgy.
15Master-Campus Theater CH
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x x x x x x x x x x x
ZÜRICH, ZHDK
ZH44 OUR REALITY ON STAGE IN DIFFICULT TIMES
Module type: Field of practice BN: light and stage
Fields of practice DR, SC, RE, TP: elective
Dates (from/until): Week 45 & 46 (7 to 18 November 2022)
Times: 11:00-18:00
Room (if known): Rehearsal stage
Number of participants: 3-12 ECTS: 4
Prerequisites: Open to all DDK Master students & partner schools, upon request possibly open to all ZHdK
students
Responsible: Nadia Fistarol
Teacher: Prof. Michael Simon and Chris Ziegler
Learning objectives: - The ability to address sustainability issues on stage
- The ability to use navigation tools and interactivity on stage
- Research skills
Content: What will the theatre of the future look like? How do we as artists react to issues like climate
change? We are looking for the added value of digital communication in the performative
context and want to identify possible approaches together. In this regard, we ask ourselves
what digital space is and how we can connect it with the physical space of the theatre.
The setup for this investigation will be a telematic stage, based on a live video transmission
from the outside to the ZHDK rehearsal stage. For this purpose, the actors will be equipped
with a special app on their mobile phones that can be used to transmit video and navigation
data. Material that you have researched and that relates to local social and ecological
content will appear as an image within an image in the stage space, in sync with your
movements outside. At the same time, we as spectators will be able to interact with the
actors in outside, asking them questions or giving them tasks.
The plan is to provide an introduction to the Isadora software for linking digital content.
Literature used: Charlotte Gruber, “InterActions, performing actual and virtual spaces as stages of interest”,
Tectum Wissenschaftsverlag 2013
In “InterActions”, Charlotte Gruber applies her findings to the analysis of more than 12
contemporary artworks from different fields. In doing so she tackles two dominant
developments in the Performing Arts: The ongoing trend to actively engage performance-
participants in the performance process, and the tendency to leave common theatre
buildings for innovative venues. Assisted by recent approaches from Media Studies, she
scrutinises the employment of new networking media. Her study reveals: Not only the
Performing Arts but also other fields of art (streetart, visual arts, etc.) have to be considered
for their performative potential and their extensive socio-political range. Gruber questions
the term site-specific art for its insufficiency to articulate this potential, which she sees in
the creation, reinvention and reappropriation of public spaces.
Comments/biographies: Chris Ziegler is a director, digital artist and architect of numerous international
interdisciplinary projects in dance, performing and new media arts. Currently he holds a
position as Assitant Professor for Interactive Media at Arizona State University (ASU) where
he is researching the “Intelligent Stage”. He is an Associate Artist of ZKM Karlsruhe, and has
16Master-Campus Theater CH
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2022/23 Autumn Semester
lectured, taught and researched at the European Theaterlab, SINLAB/École polytechnique
fédérale de Lausanne (EPFL), the Amsterdam School for the Arts (AHK) and the International
Choreographic Center in Amsterdam (ICK Amsterdam), Karlsruhe University of Arts and
Design / ZKM Karlsruhe, the Art University of Linz (“Interface Cultures”), LaSalle University
Singapore and the School of Creative Media, City University of Hong Kong. He started out his
career 1994 at the Center for Art and Media ZKM Karlsruhe working amongst the pioneers of
dance and new media projects. He designed the Frankfurt Ballet’s award-winning CD-ROM
“Bill Forsythe: Improvisation Technologies” and programmed Bill Seamans Installation
“Passages Sets”, which won a Golden Nika for “Interactive Arts” at the Ars Electronica
Festival in Linz (Austria). His own interactive multimedia dance performances, digital film
and video installations and scenographic works won awards and were presented
internationally (ZKM Karlsruhe at the Centre Pompidou, Paris, KIASMA Museum Helsinki,
YCAM Performance Center Yamaguchi, VIA festival Maubeuge/Paris, DANCE festival Munich
and other places). In 2006, The Goethe-Institut invited him to Japan for the Germany-Japan
Year to give dance media workshops and perform his stage works. He collaborated with
choreographers and opera directors such as the German Director Michael Simon and others
on stage productions at the Munich Bavarian State Opera, the Wuppertal Opera, the Bern
Opera and the State Theatre of Baden in Karlsruhe. Nike Wagner invited him 2007 to the
Artfestival in Weimar to organise the first DanceMedia Academy with choreography
students from the Palucca Dance School in Dresden, dancers from various European dance
schools and composers from the Music Academy Weimar. He has lectured at various
academic and non-academic institutions, including the Dance Apprentices Network Across
Europe D.A.N.C.E. (working with Europe‘s leading choreographers, notably Frédéric
Flamand, William Forsythe, Wayne McGregor and Angelin Preljocaj), in India at the
ATTAKKALARI Center for Movement Arts and Mixed Media in Bangalore and GATI dance in
New Delhi, and in Japan at the Yamaguchi Center for Art and Media YCAM. In 2001 he
received the “Young Art and New Media Award” in Munich, and in 2004 a Performing Arts
Award from the Endowment of the Arts Baden-Württemberg. In 2006, he was nominee for
the Monaco Dance Forum Award. He has won several design awards, such as the I.D. Design
Silver and Bronze Awards and a “New Voices New Visions” Multimedia Award, New York.
Prof. Michael Simon is a stage designer and director. His works have been shown in
Australia, Canada, the USA, Japan, China and Europe. Since 1982 he has worked with the
choreographers Jiri Kylian and William Forsythe, as well as with other creative partners such
as Pierre Audi and Peter Greenaway in Amsterdam and Li Liuyi in Beijing. In the 1990s, he
developed projects with the composer Heiner Goebbels in Frankfurt and then worked as a
director and stage designer for music theatre and drama productions in German-speaking
countries. Starting in 2014, political issues became particularly salient for him in light of the
issue of boat refugees. Since 2019, he has been working on the project “New Green Land” in
the Californian desert, which deals with the consequences of climate change. Since 1998 he
has been a professor of scenography, first at the Karlsruhe University of the Arts and since
2008 at the ZHdK. He is a member of the Critical Ecologies group of the Shared Campus, the
ZHdK's cooperation platform with international art academies.
17Master-Campus Theater CH
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All BT BN MS RE ET SC TP DR LK E D F I
x x
BERN, HKB
BE02 Kick-Off Days
Module type: Encounters
Dates (from/until):
Times: See below
Room (if known):
Number of participants: All new students ECTS: 2
Prerequisites: Mandatory for all students starting their students in the 2022/23 Autumn Semester
Responsible: Wolfram Heberle
Teacher: Wolfram Heberle, Sibylle Heim and others
Learning objectives: During the Kick-off days, the new students will receive general information about the
organisation and content of the MA programme, including introductions to various modules
and topics.
16 September – 17:30 colloquium // 19:00 diploma ceremony/welcoming the new students
19 September – HKB welcome events
20 September – 10:00-12:30 introduction to the programme for new students
21 September – 10:00-12:00: Manifesto kick-off
The technical introduction will follow at a later date.
Content:
Literature used:
Comments/biographies:
18Master-Campus Theater CH
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x
BERN, HKB
BE03 Manifesto – Solo
Module type: Creation 1
Dates (from/until): Preparatory session: 21 September 2022
3 to 7 and 17 to 28 October 2022
Presentations: 27 and 28 October 2022
Evaluation discussions: (possibly 10 and 11 November 2022)
Times: Preparatory session: 10:00-12:00
Manifesto: all day from 10:15
Room (if known):
Number of participants: Max. 12 ECTS: 10
Prerequisites: Mandatory for all new HKB MA Expanded Theater students
Responsible:
Teacher: Lukas Bangerter, Regine Fritschi and others
Learning objectives:
Content: A manifesto (from Latin manifestus, ‘made tangible’) is a public declaration of aims and
demands.
In this module, the students will develop personal manifestoes in order to take an artistic
stance. In contrast to the Futurists, Suprematists, Dadaists, Surrealists, Situationists and
Stuckists, who printed manifestoes in the form of leaflets, published them in newspapers
and shouted them from the rooftops, the students are called upon to publish their
manifestoes in their respective artistic language – in other words, to perform them.
The atmosphere is that of an intensive workshop, in which the students will create 15-
minute solo projects that will communicate WHAT sort of theatre THEY want to pursue
NOW. Through this exercise at the start of the MA programme, they have the opportunity to
prove to themselves and the world where they stand artistically and to enter into a
discourse about their respective positions. Throughout the process, the students will be
supported by experienced theatre professionals and will regularly reflect on the progress of
their work as a group. In this manner, they will jointly reflect on the different stages of
project development, acquire and test new working methods and experience different
approaches for turning an idea into reality. The solo projects will then be presented to the
public.
Timetable:
The group kick-off meeting will take place on 21 September 2022. On this occasion, the
module will be presented, and we will discuss possible working methods. From 3 to 28
October 2022, the students will work on the implementation of their solos, which will be
presented to the public on 27 and 28 October 2022.
Literature used:
Comments/biographies:
19Master-Campus Theater CH
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x
BERN, HKB
BE04 Frankenstein’s shadows: project with MOTUS
Module type: Creation 2, Devising Theater
Dates (from/until): 12 to 23 December 2022 // 3 to 22 January 2023
Performances at Südpol Luzern on 19, 20 and 21 January 2023
Times: 10:30-17:30
Room (if known): 12 to 23 December 2022 at the HKB
3 to 22 January 2022 at Südpol Luzern
Number of participants: Max. 15 ECTS: 10
Prerequisites: Continuous attendance at all sessions
Responsible: Wolfram Heberle
Teacher: Daniela Nicolò & Enrico Casagrande - MOTUS
Learning objectives:
Content: This journey for the Master students of the ‘Hochschule der Künste Bern’ is a launching pad
to dive into the FRANKENSTEIN MATTER, which is vast and overwhelming and which,
because of its open and stratified nature, we want to treat with great visionary freedom.
The workshop and project at the HKB is part of the new Motus research project, dedicated
to a personal reconstruction of Mary Shelley’s Frankenstein. The title of the workshop
comes from the famous text by Chris Baldick “In Frankenstein’s Shadow: Myth, Monstrosity,
and Nineteenth-Century Writing”, a study of the ways in which class struggle has been
encoded through Shelley’s novel and a representation of the industrial age as an era of
advancing technology and imperialism... Another fundamental text to start the journey is
“Mary Shelley’s Frankenstein” by Timothy Morton, A Routledge Study Guide and
Sourcebook, September 2002: a rare and eclectic guide edited by an author we adore,
meticulously traversing the literary, cinematic, theatrical, and even musical adaptations of
the “New Prometheus,” as well as offering a wide reference of studies in various fields from
posthumanism, to gender studies, to philosophical, psychoanalytic, and postcolonial essays
– a subject matter that Timothy Morton himself refers to as Frankenphemes...
With the workshop, open to a maximum of 15 participants, we will try to arrive at the
“creation” of a final event - which will be presented at Südpol Luzern – that is not a unicum,
but an assemblage of pieces, a show-Monster that will host as many micro-worlds as the
participants in the workshop who, as singularities or in small groups, will be involved in
elaborating single chapters, episodes, that will collide in a collective work made by the
friction/fusion of all its parts, even incongruous ones...
We will try to “put the pieces together” but the whole workshop will be aimed at
encouraging maximum compositional autonomy once the areas/themes of interest have
been chosen.
Literature used: Motus was born in 1991 as an independent nomadic theatre company, in constant
movement between countries, historical moments and disciplines. The founders Enrico
Casagrande and Daniela Nicolò, animated by the necessity to deal with themes, conflicts and
wounds of the present time, blend art and civic engagement crossing imageries that have
reactivated the visions of some amongst the most controversial “poets” of contemporaneity.
The group, who burst onto the scene in the nineties with productions wielding great physical
and emotional impact, has always anticipated and portrayed some of the harshest
contradictions of the present day. It has experienced and created hyper-contemporary
20Master-Campus Theater CH
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theatre trends, performing authors such as Camus, Beckett, DeLillo, Rilke or their beloved
Pasolini, leading to Shakespeare’s The Tempest, interpolated by Aimé Césaire, which
powerfully evoked the tragedy of migration and created instant communities around the
world. The themes of the border – physical, geographical, mental – and of the freedom to
cross it, remain central in the most recent works, most remarkably in the internationally
acclaimed MDLSX or in Panorama, produced in collaboration with La MaMa ETC in New
York. After their radical reinterpretation of Antigone in the light of the Greek crisis, the
digging down into the most controversial female figures of the Tragic continues with the
creation of Tutto Brucia, raising the deeply political question of what corpses are worthy of
grief. The artistic work of the company is interweaved with an intense training programme
of public meetings, lectures and masterclasses at Italian and international universities: from
IUAV university in Venice, to La Manufacture – Haute école de théâtre de la Suisse Romande
in Lausanne and the Master DAS Theatre of the Academy of Theatre and Dance in
Amsterdam. In 2021 Motus won the prestigious 2021 Critics Award of the Italian National
Association of Theatre Critics.
Comments/biographies:
21Master-Campus Theater CH
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2022/23 Autumn Semester
Target group Teaching language
All BT BN MS RE ET SC TP DR LK E D F I
x
BERN, HKB
BE05 LAB
Module type: Creation 2 – laboratory
Dates (from/until): 19 to 23 December and 9 to 25 January 2023
Proposal due: 25 November 2022
Start of the LAB: 19 December 2022
Interim session: 13 January 2023
Final presentations: 24 and 25 January 2023
Times: All day, the presentations may stretch into the evening
Room (if known):
Number of participants: Max. 12 ECTS: 5
Prerequisites: All – preference will be given to ET students
Responsible: Florian Reichert
Teacher: Led by Florian Reichert, Sibylle Heim and mentors
Learning objectives:
Content: The lab module offers students the space to pursue personal investigations into artistic or
theoretical topics. The students will question, work on and develop, discuss, present and
evaluate working and creative methods, aesthetics, theories, a wide variety of artistic means
of expression as well as materials in relation to the focus of their own work. The module will
conclude with a presentation of the results. Depending on the topic being investigated, the
presentation can take the form of a try-out, a practical presentation, a lecture presentation
or a written text.
In addition, the module also aims to serve as a forum for productive exchange between the
students, to enable them to examine their perspectives and to expand them by engaging
with other points of view. This exchange will take place on two levels:
- The students will choose a mentor (from a list of available ones) who will accompany them
during their work
- Peer-to-peer consultations: during dedicated peer consultation and presentation days (on
which attendance is mandatory), the students will evaluate the (interim) results of their
investigations on the basis of set feedback formats
The students may use this process of investigation to prepare their MA projects.
At the beginning of the lab, the students need to formulate a concrete proposal for an
investigation or a task, which has to be submitted in written form (using the form provided)
by 25 November. The lab will start on 19 December with a joint event in which the students
present their projects. The final presentations will take place on 24 and 25 January 2023.
The timely submission of the proposed investigation and participation in the presentations
are mandatory components of the course!
Literature used:
Comments/biographies:
22Master-Campus Theater CH
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2022/23 Autumn Semester
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x x
BERN, HKB
BE06 Master Thesis Modul – Einführung Konzept / Projektmanagement
Module type: Workshop
Dates (from/until): 3 to 7 October 2022
Times: 10:30-17:30
Room (if known):
Number of participants: ECTS: 2
Prerequisites: Mandatory for all students who will realise their MA project during the 2022/23 Autumn
Semester
Responsible: Wolfram Heberle
Teacher: Wolfram Heberle, Sibylle Heim
Learning objectives:
Content: The following modules will accompany the students throughout the semester in which they
realise their MA projects. They are mandatory for all students planning their MA thesis:
- Introduction to the concept/project management
- MA thesis concept
- MA thesis realisation
A draft outline for the project (MA thesis registration form) must be submitted by
9 September 2022.
Introduction to the concept/project management
In this module, we will clarify what makes a good concept, what it should contain and what
formal and stylistic guidelines need to be taken into account. In parallel with the work on the
concept, the students will develop and test strategic and planning methods for the
development and implementation of their projects.
The final concept must be submitted by 30 October 2022.
Literature used:
Comments/biographies:
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