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Lulu

I like the shapes and shadows, with the light from the gauze. From a Robert Wilson production.

Shakespeares Sonette by Robert Wilson (Berliner Ensemble)

"Shakespeares Sonette" by Robert Wilson and Rufus Wainwright at the Berliner Ensemble, 2009 SONNET 71 No longer mourn for me when I am dead Then you shall he.

Die fotografischen Illusionen von Logan Zillmer entführen euch in eine surreale Welt | The Creators Project

Die fotografischen Illusionen von Logan Zillmer entführen euch in eine surreale Welt

Brilliant simple idea for budget conscious set. the cardboard NEEDS to be painted/camo'd somehow....could used other side of boxes for something else!

Brilliant simple idea for budget conscious set. Set boxes around center pole and they can spin independently to form changing backdrop.

Szene mit Martin Schneider (als Hamm), Juergen Holtz (als Nagg) und Georgios Tsivanoglou (als Clov) in Robert Wilsons Beckett-Inszenierung "Endspiel" am Berliner Ensemble Foto: imago/DRAMA-Berlin.de

Scene with Martin Schneider (as Hamm), Juergen Holtz (as Nagg) and Georgios Tsivanoglou (as Clov) in Robert Wilson's Beckett production "Endspiel" at the Berliner Ensemble Photo: imago / DRAMA-Berlin.

Goethe-Institut - Bildergalerie Bühnenbildner

Faust: The Second Part of the Tragedy. Scenic design by Olaf Altmann.

Pierre-Andre Weitz

Bayerische Staatsoper: “Il trovatore” – 27.6. 2013

Il Trovatore at the Bayerische Staatsoper. Production by Olivier Py. Sets and Costumes by Pierre-André Weitz.

INTO THE WOODS SHADOW THEATER - Google Search

The vision for LX somewhat unrealistic. but shadows in the background. LS 31 front light as well. --- I like the shadow imagery in this picture. Especially how one image is very focused and the rest are faded, creates an interesting effect.

The Black Monk Philippe Hersant Director: Tatyana Gürbaca Stage and Light: Klaus Grünberg  Costumes: Florence von Gerkan Leipzig Opera

Klaus Grünberg, set and light design, Der schwarze Mönch, Oper Leipzig, 2006

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