Thomas Ostermeier Bio/Wiki, Net Worth, Married 2018
Thomas Ostermeier (born 3 September 1968 in Soltau) is a German theatre director. From 1992 to 1996 he studied directing at the Ernst Busch Academy of Dramatic Arts. Ostermeier currently mainly works for the Schaubühne. He began his theatrical career in 1990 acting under director Einar Schleef, one of Ostermeier’s major inspirations, in his Faust project at Berlin’s Hochschule für Künste. After the Faust project concluded in 1991, Ostermeier began studying directing at the Ernst Busch School of Drama in Berlin where in 1992 he met his mentor Manfred Karge. From 1993 to 1994 Ostermeier acted as Karge’s assistant director and actor in Weimar and at the Berliner Ensemble. In 1996 Ostermier was asked to take over as artistic director for the Barracke at the Deutsches Theater, an offer Ostermeier contributes to a production of a play by the Russian symbolist Alexander Blok at Ernst Busch seen by the Barracke’s then chief dramaturg.Ostermeier brought dramaturg Jens Hillje and designer Stefan Schmidke, both of whom he continues to work with, to the Barracke. The three created a five-year program aiming to mirror reality dealing with the themes of sex, drugs, and criminality. During his time at the Barracke from 1996 to 1999, Ostermeier began developing the aesthetic he is known for today. Early in his career Ostermeier identified the major problem of German theatre as too much decoration and celebration of celebrity. He rebelled against this aesthetic through the “intimate and violent” psychological realism emerging among young British playwrights like Sarah Kane and Mark Ravinhill. These British playwrights where inspired by their difficult social situations making their plays more interesting and inspiring for Ostermeier then their German counterparts. Ostermeier was responsible for bringing these new ‘Kitchen sink’ dramas to Germany, thus giving the playwrights international attention, and inspiring young German dramatists, such as Marius von Mayenburg, to put forth similar dramas. The 1998 production of Ravinhill’s Shopping and Fucking won Ostermeier international attention and an invitation to the Berliner Theatertreffen as well as the title enfant terrible of German theatre.Ostermeier became known for his genre of Capitalist realism, which he is still known for today. This aesthetic forces his audience to watch the gritty violence of reality caused by a ruthless capitalist system. This form of realism “seeks revenge on the blindness, and stupidity of the world.” Ostermeier seeks to challenge his audience by problematizing the modern societal values of Germany and Europe. His realist aesthetic is indicative of his own left wing political beliefs, which starkly criticize Western capitalism and the values of modern European society. In 1997 Ostermeier began applying his realist aesthetic onto classic plays, the most notable being Henrik Ibsen’s A Doll’s House, or Nora. The production marked the beginning of a longstanding collaboration between Osterm
$400,000
