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93:, both of whom he continues to work with, to the Barracke. The three created a five-year programme aiming to mirror reality and 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, embracing the “intimate and violent” psychological realism emerging among young British playwrights like
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and direct the actors - on a timing and vision that can be compared with the cinema, life and urban imagery. Thus
Ostermeier has contributed towards expressing the anxieties of the younger generations by giving a faithful, moving picture of them on stage, which is far from being "academic" and recreates a direct link with what happens in society and what is staged in the theatre. Ostermeier's theatre thus generates new energies and interests a new German and European audience.
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Whilst working at the "Baracke" in Berlin, Thomas
Ostermeier has succeeded in leading contemporary theatre in a precise, independent direction by exploiting the discovery of new dramatists and combining this with a suitable style of direction, based - in addition to his exceptional ability to choose
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In 1999, at only thirty-two years old, Ostermeier left the
Barracke to become a resident director and member of the artistic direction at Berlin's Schaubühne, making him one of the youngest successful directors in Germany. Known for making outlandish statements about the older generation of German
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Now himself over forty, Ostermeier continues to make theatre and tour with productions across the globe. As a polyglot, fluent in German, French and
English, Ostermeier was appointed Officier des Arts et des Lettres in 2009 by the French ministry of culture. In 2010 he became the president of the
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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.”
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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.
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2001. A comment made by
Ostermeier stating directors over forty were “no longer in contact with the developing culture and should give up directing,” was taken personally by the esteemed fifty-three-year-old theatre and Festwochen director
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what he fears the most in this sanitary crisis. He replied that he fears his own death. He added that everyone, regardless of their age, should have the right to live, and everything should be done to protect it.
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German-French
Council of Culture. His 2008 production of Hamlet has won numerous international awards including Best International Production of 2011, and in 2011 Ostermeier received a Golden Lion at the
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Carlson, Marvin. “Chapter 8: Thomas
Ostermeier.” Theatre is More Beautiful than War: German Stage Directing in the Late Twentieth Century. Iowa City: University of Iowa Press, 2009. pp. 161–180.
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Newsweek calls him: "Germany’s best-known stage director and, at least according to the leading
European theater scholar Peter Boenisch, its most important".
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in Berlin where in 1992 he met his mentor Manfred Karge. From 1993 to 1994 Ostermeier acted as Karge's assistant director and also acted in Weimar and at the
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Ostermeier, Thomas. "Talk mit dem Theaterregisseur Thomas Ostermeier" with Hajo Schumacher. Typisch Deutsch. Deutsche Welle. www.YouTube.com. 15 April 2012.
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Picture of Thomas Ostermeier. Made at Théâtre de l'Odéon, Paris, on Friday, April 10th, 2009 after the performance of "John Gabriel Borkman"
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Despite his success Ostermeier still remains true to the gritty, in-yer-face realism he became known for during his time at the Barracke.
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During the pandemic, Ostermeier accepted to participate in some online events. In one of the dialogues, he was asked by theatre critic
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Zaroulia, Marilena. “Staging Hamlet After the ‘In-Yer-Face’ Moment.” Contemporary Theatre Review. 20:4 (2010). 501–504.
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dramas to Germany, thus giving the playwrights international attention, and inspiring young German dramatists, such as
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Schafer, Yvonne. “Interview with Thomas Ostermeier.” Western European Stages. 11:2. Spring 1999. pp. 49–54.
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at the Deutsches Theater, an offer he attributes to his production of a play by the Russian symbolist
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In 1997 Ostermeier began applying his realist aesthetic onto classic plays, the most notable being
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Officers Crosses of the Order of Merit of the Federal Republic of Germany
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at Ernst Busch, which was seen by the Barracke's then chief dramaturg.
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Ostermeier began his theatrical career in 1990 acting under director
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279:"German theater director Thomas Ostermeier takes on the far-right"
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as well as recognition as the enfant terrible of German theatre.
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won Ostermeier international attention and an invitation to the
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theatre directors, Ostermeier found himself in trouble at
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376:Ostermeier, Thomas. “Die Zukunft des Theaters.”
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