Why is the German stage art design so empty

- May 05, 2018 -

Why is the German stage art design so "empty"


In recent years, the orthodox, serious and meticulous style of German drama has attracted everyone's attention. In addition to the expression of the content, the stage art design of the German drama also focused on the audience's perspective.

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To refuse to perform beautifully and want tragic things, we must put on a serious face. Because the consensus of the German theater community is that we have a mission to face life and to criticize the darkness of society.

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There is no gorgeous packaging and design, nor does it deliberately pursue the visual elements of avant-garde and the value of entertainment. Some of the German dramas are cultural reflections, as well as profound and real excavation and expression of human inner spiritual life.

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Even so, it does not mean that they do not value the stage design. The Germans are known for their "rigorousness." They are as large as stage machinery devices, and they are all in perfect order, from all processes and equipment to design and management. The German drama has a mission of in-depth exploration, reflection and criticism of the spiritual world of life, society, and humans. The stage presentation also rejects those fancy things. In view of the depth of the Western study of geometry and three-dimensionality, the stage of German drama The main features of the design are geometric, three-dimensional and spatial depth. Instead of pursuing “full” on the stage, using ethereal, simple styles can often purely express the cultural connotation that the drama itself wants to express.


According to reports, the Hamburg Theater in Germany currently has 26 long-standing repertoires. One repertoire is linked to another. The replacement of the daily repertoire gives viewers the opportunity and the right to choose every day, so that they can perform better. This kind of performance mechanism makes it impossible for the stage design of German drama to pursue complicated stage installations. Therefore, the “three words and two phrases” on stage design highlight the grim, serious, and ethereal temperament.


Below, we come to introduce the designers of the two German stage designers. From their works, we can understand the features we have mentioned.


Karl-ernst Herrmann


《La Clemenza di Tito》


《La Traviata》


Sebastian Hannak


The first is the clean and tidy "geometry style"


The stage is empty and only "a tree"

Up and down structure


Simplicity does not mean lack of ingenuity


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