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In order to get rid of price discrepancies, distribution must be rethought. For this, the watch industry needs partners who centralize distribution. To bring together the right people, who run together in the right direction and of course perseverance — even in difficult times not to give up and believe in the idea. No founder knows an answer to every question right from the start. Makes mistakes, also gladly correctly and with the next opportunity better! Setbacks are part of it and strengthen you. Although we are not exactly located in the Ruhr area, we are close to Cologne.
While the startup metropolis of Berlin is characterised by greater staff turnover, we are fortunate to have qualified and committed employees on board, many of whom have been part of CHRONEXT since it was founded. Sie waren gerade 22 und 23 Jahre alt. Die Plattform listet Uhren haben mich einfach schon immer fasziniert.
Dieser eingeschlagene Weg muss weiter vertieft werden. Die Preisstruktur, die online durch Ebay etc. Um Preis-Diskrepanzen loszuwerden, muss Distribution neu gedacht werden. How does a startup change after VCs get started? Stefan Peukert is founder and CEO of masterplan.
Already in they founded meinpraktikum. They want to support German corporations in the digital transformation. I have always been a curious guy and had the tendency to question everything. I rather try to consider new perspectives and — if possible — improve things. Most important to me are the people I work with and that is also the biggest challenge, in my opinion. When your company grows at a constant rate, so will the challenges. But I still want to guarantee a certain degree of sustainability. This might come off as repetitive, but speed is the main advantage startups have over large companies in my opinion.
Consistent action is almost as important. Less strategy, more action! When we founded meinpraktikum. Fortunately the scene grew much bigger now, better connected and better perceived in the media. That is due to the huge commuter belt of several big universities and long-established companies.
Put more old money in new ventures! The Ruhr area has an awful lot of potential on both sides! Ich war schon immer sehr neugierig und hatte die Tendenz, alles zu hinterfragen. Konsequentes Handeln ist fast genauso wichtig: Besser, man macht Dinge falsch und lernt daraus, als einfach nichts zu tun. Weniger Strategie, mehr Doing! Als wir vor acht Jahren meinpraktikum. Steckt mehr altes Geld in neue Unternehmen! Das Ruhrgebiet hat hier auf beiden Seiten wahnsinnig viel Potenzial. Paul has been an Internet entrepreneur since the late s.
First as founder and manager in eCommerce eBay Powerseller, Babymarkt, preis24 , later as director and consultant for large companies. Today he is managing director and co-founder of Myra Security, which is an internationally successful IT security company. He is personally very interested in digitization, future-oriented education and cybersecurity. I always wanted to move and tackle things myself.
As a true child of the Ruhrgut, I learned early on to act honestly and directly while always keeping my feet on the ground. This gave me the necessary traction in entrepreneurial life. It helped me with my successes and gave me the valuable reflection of failures. As a hands-on managing director, I am not in an ivory tower, but am involved in everything from strategic orientation and recruiting to the daily important exchange of customers in all acute areas of the company.
From time to time, replenishing the coal in the engine room helps you to better understand your own team and your own company. And, by the way, not to neglect your own friends, family and private interests. This was by far the account that had the best customer ratings in the world, as the eBay management later told me. Thanks to this customer satisfaction, we achieved brutal growth. I see many entrepreneurs who prefer to listen to expensive consultants and copy the competition rather than understand the needs of the target group and really analyse them deeply.
Put it into question! In the end, only the satisfied customer pays the bill, comes back, recommends and contributes to the success of the company. I find the phrase silly and outdated. In this picture the company would not be at the important eye level, but subject or even court jester and thus in no successful starting position. Not to be blinded in the daily struggle by the all too easy working success stories of other founders.
Every successful company I know has faced the abyss at least once. In addition, one should have learned to listen openly to customers and target groups and to really understand their needs and to question them. Only then can ideas for the future take hold in the here and now. Henry Ford, one of the pioneers of the automobile once said: I am pleased that, in addition to the hype of Berlin, Munich and Hamburg, the Ruhr region is also developing into a founding region to be taken seriously.
The products seem technically adept to me here, and the founders are down-to-earth, which speaks for the long-term nature and the good foundation of this development. Auf seine Unternehmung vertrauen u. Ich wollte schon immer Dinge selbst bewegen und anpacken. Es half mir bei meinen Erfolgen und gab mir die wertvolle Reflektion von Misserfolgen. Ab und an im Maschinenraum selbst die Kohle nachzuschippen hilft das eigene Team und das eigene Unternehmen besser zu verstehen. Dank dieser Kundenzufriedenheit erzielten wir ein brutales Wachstum. Jedes erfolgreiche Unternehmen, das ich kenne, stand schon mindestens einmal vor dem Abgrund.
Nur dann greifen Zukunftsideen auch im Hier und Jetzt. Henry Ford, einer der Pioniere des Automobils hat einmal gesagt: As Managing Director, Daniel passionately drives the company forward and ensures that more people enjoy the unique drinking chocolate every day. I always wanted to make the world a better place! We want to achieve an even greater impact in the countries of origin of our raw materials with koawach in the future.
For example, we want to promote the cultivation of organic guarana with a project in Brazil. These projects are extremely important for us, but also a great challenge. We also want to launch even more products on the market and become a well-known brand in Germany and Europe. Test your market and check your approach and products over and over again.
No matter what comes, believe in your idea! Be open to feedback, learn and implement quickly. I am thrilled at how quickly such a huge startup community has formed in this region. Egal was kommt, glaubt an eure Idee! Ich bin begeistert davon wie schnell sich in dieser Region eine so riesige Startup Community gebildet hat.
Ich glaube hier schlummert noch eine ganze Menge Potential. In this function he supports the digital transformation of the entire company and the development of new digital business models for the various holdings and divisions of Haniel. My background is IT and technology. Within the scope of a project within the CIO function, which I still hold, the opportunity arose to focus on the topic of digitization. To manage the balancing act between corporate complexity and agile approach and to understand the requirements of our customers or to set new impulses.
I try to give my employees the freedom they need for their work. Believe in yourself and your product. Let us help you and use the ecosystem! The last 3 years have shown the positive trend. We can do our own thing here if we manage to turn our strengths outwards and act accordingly. Mein Background ist IT und Technologie. Den Spagat zwischen Corporate Complexity und agiler Vorgehensweise zu managen und die Anforderungen userer Kunden zu verstehen bzw.
Neue Impulse zu setzen. Schielt nicht auf die anderen. Glaubt an Euch und Euer Produkt. Die letzten 3 Jahre zeigen den positiven trend. Live-Podcast with Carsten Maschmeyer. The annual OMR Festival is one of the largest digital conferences in Europe, with over 50, visitors and high-ranking executives from major European and well-known international companies. In addition to the festival, OMR publishes daily articles about the digital industry on Rockstars Daily. Philipp and the OMR team also produce the OMR podcast with 30, listeners a week, the largest job exchange in the industry, in-depth analyses and guidelines in the form of reports as well as other special thematic events.
Prior to OMR, Philipp has built up two ad-tech companies together with his partners in recent years and sold them to Bertelsmann and Zalando. Occasionally he is a national as well as international speaker, as an expert for media and marketing. To establish a second media brand alongside OMR. In our case, the FinanceForward brand. The key question is always, do you solve a problem for someone else and if so, the willingness to pay for it is there.
Besides the answer to the question above, one should perhaps ask oneself personally whether one can develop great passion or at least interest for the topic in question, otherwise it will be a tough professional life and the company will only rarely work. How do you think about startup scene ruhr area?
A lot is happening. The big hits, i. I think it would also be important, in contrast to other cities, to state clearly what the region stands for in terms of content and areas. If so, everything else went well. Live-Podcast mit Carsten Maschmeyer. Eine zweite Medienmarke neben OMR aufzubauen. In unserem Fall die Marke FinanceForward. Soweit meine Meinung aus der Marketingperspektive. Es tut sich einiges. Wenn dem so ist, ist alles andere gut gelaufen.
Hendrik Lennarz is founder of www. A Growth Hacking learning platform. I love to help businesses any size leveraging Growth by killing weak- and strengthen sweat spots. To infect people with the Growth Hacking mindset of execution ideas instantly instead of doubting. Focus on getting the 1st paying customer, instead of doing something else.
After the 1st paying customer, focus on the 10th. Konzentrieren Sie sich darauf, den ersten zahlenden Kunden zu bekommen, anstatt etwas anderes zu tun. I grew up in an entrepreneurial family and realized very early what it means to start and run a business. Not to stand still and reflect on yourself. It helps a lot to give yourself and the team regular time off and to work on the vision and the corresponding strategy. Only if you as a founder carry the fire with you can it be transferred to others.
This flame must not go out. A clear division of roles based on the talents of the founders. In the best case, paired with blind trust and understanding for and from each other. Few ideas are VC-compatible. Keep the burn rate as low as possible and get feedback from as many potential customers as possible very quickly.
Absolutely exciting what has developed there in recent years. Capital, talents and some exciting start-ups are already there — but just like for any other location, of course I would like to see even more start-ups. Formats like the RuhrSummit help immensely to network the Ruhr area even better with the outside world and make it more transparent. A large part of my network of founders is located in the Ruhr area and I would like to expand it even further! Nicht stehen zu bleiben und sich selbst zu reflektieren. Die wenigsten Ideen sind VC-tauglich. Absolut spannend, was sich dort in den letzten Jahren entwickelt hat.
Matthias founded DCMN, the growth marketing partner for digital companies and start-ups, in together with his long-time business partner Andreas Dengler. Prior to DCMN, Matthias founded and helmed 15 ecommerce ventures and worked as product manager in the music industry. The company today has 9 offices on 4 continents and, according to FT , is among the 10 fastest growing German companies.
I always wanted to run my own company. I have always wanted to use new ideas to improve things I did not want to content myself with. And as founder I have learned to learn from mistakes and see failure as valuable experience. My motivation today is to help other founders to grow their businesses without making the same mistakes. DCMN is one of the ten fastest growing companies in Germany, with 9 offices on 4 continents. The key factor of this growth is our company culture. In order for us to further scale without losing mobility, success and fun, the challenge is to maintain and continuously improve our company culture.
In your opinion what is the crucial factor for a successful start-up and why? That founders pass on responsibility at an early stage and let their employees be experts and make self-responsible decisions. Think hard about what kind of company you want to be and select the right team accordingly.
Include the team in important decisions. How do you think about startup scene Ruhr area? There is a sizzle in the air — and you can hear it all the way in Berlin. The former coal region is turning into an ecosystem for digital diamonds. With its long industrial and SME tradition, founders find excellent growth conditions in the area — but of course there is still room for improvement. What is your personal wish for Ruhr area? The entire start-up location Germany will profit from it.
Werdet nicht zu den Corporates, denen ihr entkommen wolltet. Bezieht Mitarbeiter in wichtige Entscheidungen ein. Achtet von Anfang an auf die Etablierung von Kernwerten und Leitprinzipien und lebt diese selbst authentisch vor — sonst funktioniert es nicht. Davon profitiert der ganze Startup-Standort Deutschland.
After working at Serviceplan and BrandTrust as a brand consultant, she is excited to be building her own business together with Martha Kift. As far as their company culture is concerned, she is convinced that there is no contradiction between ease and enjoyment and ambition and professionality — instead, these things complement each other. Her mission is to transform the many great ideas of founders into meaningful brands of the future. I grew up with an extremely cross-cultural background that involved a lot of traveling and discovering new cultures and all these experiences had a powerful formative influence on me.
What I love is seeing new places, trying to understand what I experience, questioning and learning new things. I cannot wait to work with interesting characters and gain insights into innovative ideas and business models. Together, we will create the brands of the future. You could say my biggest challenge is my biggest adventure: I am convinced that you have to be clear about who you are and what you stand for as a company.
Self-confidence and the right partners at your side are crucial for your success. Believe in yourself, your ideas and stay uncompromising in your mindset and convictions.
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At the same time, remember to stay agile in your actions on your path to creating a successful brand. Der Weg von deiner Idee zur bedeutungsvollen Marke. Glaubt an euch und eure Idee und seid in eurer Haltung kompromisslos, bleibt aber gleichzeitig auf dem Weg zur erfolgreichen Marke in den notwendigen Handlungen agil. After having worked as a strategic planner in an agency and as a brand consultant, she felt her apprenticeship years were now complete: She was looking for more freedom and self-determination than possible in any corporate context.
Her passion for strategy and brands has always paved her way and it feels wonderful to finally announce to have founded her own company together with Michele Schmitt and to lead this company according to their own beliefs. It took me some time and likeminded people to discover that having my own mind and convictions is a strength; just like a strong brand I am uncompromising in what I stand for.
I am eager to work with disruptors, rebels, crazy dreamers and visionaries: Founding your own business is time-consuming. Nothing is ever really finished and that feels strange, especially for me I love ticking off to-do-lists. Another kind of flow can be achieved by tackling challenges with ease and flexibility without losing sight of the big picture.
As a brand strategist I am convinced that it is the brand. We live in times of saturated markets when consumers already own everything they need, so nobody cares really about any product which can always be copied.
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Instead, people buy what they identify with and what gives their lives meaning! Be really clear about your goal and your attitude and never let others knock you off course. Clarity, consistency and an uncompromising approach have positive side-effects: Because people know what to expect, the right partners, customers and ultimately employees , will find their way to you automatically.
This saves time, money and energy. What is vital is to know exactly what distinguishes us from other startup hotspots and to stay true to ourselves. Es gibt schon alles und wir haben schon alles. Menschen kaufen Marken, mit denen sie sich identifizieren: Seid von Beginn an ganz klar, was euer Ziel und eure Haltung ist und lasst euch davon nicht abbringen; habt keine Angst zu polarisieren! Klarheit, Konsequenz und Kompromisslosigkeit haben den positiven Nebeneffekt, dass dadurch die passenden Partner, Kunden und letztlich Mitarbeiter zu euch finden.
Das spart Zeit, Geld und Energie. Als Ruhrpottkind im Exil beobachte ich die Entwicklung gebannt. So wie ich die Menschen im Pott wahrnehme, sind uns die besten Voraussetzungen in die Wiege gelegt: How to stay focused despite setbacks and headwinds! Adrian Rouzbeh is a self-made entrepreneur, entrepreneur, coach, martial artist and speaker.
Since he regularly holds seminars and lectures, among other things as a lecturer for his own innovative company PHP. Adrian Rouzbeh successfully mastered the initial difficulties of establishing a non-existent market. Today, his company has several locations and helps hundreds of people — young and old — and companies achieve their goals.
He also lectures regularly at universities and schools. He also travels to various trade fairs and speaks to companies or advises them. He raised his own company without outside capital, partners, investors or the like — and at a young age: Adrian Rouzbeh was born in and was already regarded at the age of 22 as a sovereign leader who successfully brings his team and his concepts to their goal.
Heute hat sein Unternehmen mehrere Standorte und hilft hunderten Menschen — von jung bis alt — sowie Firmen bei deren Zielerreichung. The innovation evangelist and digitization expert has many years of project and management experience in DAX companies. To get the free app, enter your mobile phone number.
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Write a customer review. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers. Learn more about Amazon Giveaway. Set up a giveaway. A Lesson in Manipulation and an Exercise in Resistance: June, Alexandra Marinho de Oliveira. An Interview with Jost Hermand. Interview with actor Laurent Stocker: It is extremely important and interesting to work with foreign directors, and it is innovative to discover new codes and conventions.
I happened to have worked with German directors in the past: German directors bring a theatrical vision of their own. Katharina Thalbach is the daughter of Benno Besson who liked to use masks in his plays. Many people in the audience wonder whether we are wearing masks. We are not wearing masks, but make-up, very heavy, like masks.
The famous estrangement Verfremdungseffekt discussed by theoreticians does not mean much for actors. Of course, we know that it is linked to the epic theater which itself owes a lot to Shakespeare. The signs, both large and small, that recount history and that put historical events into context, create estrangement.
During rehearsals, however, Katharina did not want to hear about it. That said, theory remains important for me. I am not an actor who relies solely on instinct.
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I read a lot before I start performing. The theoretical part helps me put my acting into practice. This is, therefore, my fourth play by Brecht. One can read, and reflect on, these aphorisms any time of the day: I call them the Brechtian haikus. I have watched many documentaries on Hitler and it is important for me to learn about the author and the historical context. In this particular adaptation, the key element was to foster the comical theatricality and the characteristics of Grand-Guignol.
These are colorful characters who unfortunately did exist, and it is only through their clownish dimension that we can grasp them. Approaching them through the lens of psychology would not be very interesting: Whereas a focus on their clownish dimension is the only way to approach them for an actor, even if what they did was terrible. I also thought of The Testament of Dr. Mabuse by Fritz Lang. It is at once funny and cruel, unconscious and conscious. One needs to maintain a fragile balance between the funny side and the horrible side.
Givola and Roma are clowns. It is reminiscent of fairgrounds and medieval theater where Gautier-Garguille or Gros-Guillaume used to play. The music is circus music. In addition to the legacy of German expressionism, there are also previous stage adaptations: When we started rehearsing, she explained that she would borrow a few things from this legacy. It was a way for her to pay homage to this tradition. Did the fact that Katharina Thalbach is also an actress influence her directing style? What degree of freedom did she grant you? We did have a lot of freedom as actors, but it is true that Katharina, as an actress, is able to show us what she wants with great ease.
When she performs on stage, it is hard to push her aside.
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She has a feel for play and a comical side. She is great at directing actors and providing guidelines: Katharina speaks only a little French and we had an interpreter. The language hurdle was more tiring for her than for us. The need to translate interrupted the movement of her thoughts. Sometimes, when she gave directions, we understood very well what she meant without any translation. The French translation does not employ the same rhythmical pattern. When we started to perform the text with a kind of Brechtian versification, it did not work. The translation was in verse and we were unable to say the text.
We had to revise the translation a lot, almost at each rehearsal. We kept some passages in verse, for instance in the scene between Mrs. Dullfeet, Arturo, and Givola. These are alexandrines that we retranslated ourselves. We needed to change words, sentences, and expressions that were too abstract and not intelligible to the ear. Katharina kept telling us: Your acting style is too quiet. In Germany, we are not afraid of screaming, of shouting. This is not something we usually do in France.
The prevailing tradition is naturalistic or symbolic, which is very different from the expressionist tradition. One striking scene is when Arturo makes a pitch on the importance of faith. You utter the word faith in a very peculiar way, as if you were throwing up. She wanted to depict it as an atheist faith that does not have any appeal, a faith that makes us feel nauseous.
He made the people believe that he had faith, but he was profoundly atheist. Your playing style mirrors the ambivalence of the character very well. Hitler does not care about faith, but at the same time, he believes in himself. He fully adheres to the persona he created for himself. Such monstrous characters do not doubt that they will succeed no matter the means. His motto is safety and violence. We all know where it leads. Is there a scene or an aspect of the character that you found particularly challenging or exhilarating?
Oddly enough, the performance is at once exhilarating and very challenging. It is physically and vocally exhausting. At the end, I need to cleanse myself of the monster I have impersonated for two hours. I am soaked in sweat. I need to cleanse myself figuratively: I empty my mind; I stretch out, and only afterwards do I take a shower. We have about four performances a week and I am glad that I am not currently performing in another play. The energy it requires is such that I need a full day to recover.
The audience feels this energy. How do you physically prepare yourself for this part? I do a lot of stretching and vocal exercises. I rehearse the whole text in my dressing room even if I have performed the day before. It takes me one hour. I play tonight at 8: The stage fright starts rising. I am someone who always experiences stage fright, but it is even worse with this particular play. It starts early in the day when I know that I will perform in the evening. It might vary depending on the day, and on some days, I feel more at ease than on others. Sometimes I think that I performed better but people tell me the opposite.
My inner feelings are very different from what the audience experiences. Is Arturo one of the most challenging characters you ever interpreted? The part was psychologically tiring, but not physically. He makes awful decisions for Rome and for his court. He is not someone who loses his nerve.
He seals the fate of hundreds, or even thousands, of people without the slightest remorse, without a second thought. These monsters are completely different and do require a different approach. The members of the audience who have seen both plays are struck by the differences: One needs to do warm-up exercises for the thighs and the back. Many actors experience back pain. It has not happened to me yet. The stage designer, Ezio Toffoluti, would not take us seriously when we told him that it was very hard. And then, when he greeted the audience at the end of the opening night, he fell on the floor.
He did not realize that it was so tiring. This said, it is very good for the audience. Those who sit upstairs in the third balcony see us much better. Thanks to the stage design, they can better appreciate the performance. They see our faces instead of the top of our heads. In addition to the raked stage, one needs to take into account the spider web, the gunshots. This is a demanding show for us and for the audience who may feel, in the end, as if they had been punched in the face. It is also perhaps linked to the fast pace of the play. Are you happy with this stage adaptation?
If you had to start from scratch again, would you change anything? My only regrets have to do with the translation. Other than that, working with Katharina has been great. We achieved a wonderful osmosis and cohesion among actors.
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Everybody was on the same page. It was a rather short timeframe, all the more so because we never rehearsed more than 5 or 6 hours a day. We put the play together quite fast because Katharina knew exactly what she wanted. Yes, from February to June We will give close to performances, which is remarkable for a play by Brecht in France. The play has elicited many positive reactions. What made you decide to stage this particular play by Brecht? They asked me initially whether I would be willing to stage a relatively unknown play by Georges Feydeau.
I declined and I told them that I would feel more comfortable staging a play by Brecht, whom I know very well. Then the directors suggested Arturo Ui. Of course, when they asked me a year and a half or two years ago, they were already thinking of the upcoming French presidential election [in May ]. There is no doubt about it.
I was very pleased, because staging Arturo Ui in French was a beautiful challenge. I would not have dared to stage this play in Berlin because of the already existing famous stage adaptations. There are indeed famous stage adaptations of this play: Were they important influences for you? This is certainly the case with the adaptation. I saw the play as a child because my mother [Sabine Thalbach] played in it [as Dockdaisy].
I am a great admirer of Wuttke, who gave an outstanding performance.
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It did not have an influence on my own work. It is always very difficult when you already have two incredibly legendary stage adaptations in a city, one being still in the repertoire. It would be silly to try to compete against them. That would be great. Since I started to work as a stage director, the main authors I have been dealing with were always Shakespeare and Brecht.
I was lucky enough to see great stage adaptations from plays by these authors in the GDR, including adaptations by my own father, Benno Besson, who had a huge influence on me and who could tell me a lot about Brecht because he had known him personally and because he had worked with him.
The humor has often been lost in the West-German theater tradition. Brecht is often portrayed as a dry and didactic playwright. One brandishes the specter of the theory of estrangement. Although some have declared him dead, I believe, however, that Brecht is more relevant than ever.
Indeed, the play has an uncanny relevance, also in the United States. With blond hair, Laurent Stocker could easily impersonate another political figure. He does occasionally remind us of him, indeed. There were frequent jokes about it during rehearsals. How would you describe your relationship with the Berliner Ensemble? Do you view yourself as heiress of this tradition? Can this legacy also become a burden? I never perceived this legacy as a burden. Of course, it is closely related to my own biography. My mother had been hired by Brecht and Helene Weigel. As a child, as early as I can recall, I remember sitting next to the stage and watching the evening performances.
I have been exposed to this tradition right from the cradle, so to say. I was trained as an actor by Helene Weigel, who had a great influence on me. It also impacted my later work as a director. One should not forget, however, that the Berliner Ensemble consists of many different people and traditions. It has experienced very different developments. For instance, the s tradition is very different from the s tradition. We need to expose certain things to ridicule in order not to be overwhelmed by them and in order not to feel a misplaced reverence for them.
In my view, this is what Brecht had in mind. Everything I know about his style of performance, for instance the old film sequences I saw from his adaptation of the Caucasian Chalk Circle , confirm that he valued the grotesque. I cannot imagine that all his stage directions are pure coincidence. We took the artistic liberty of making this addition. This particular scene elicited a lot of discussion.
They feared that it would grant too much sentimentality to a figure like Ernesto Roma. Some also found that it would be dangerous to have Hitler experience a dream like in a play by Shakespeare. I like this scene a lot and so did the actors. I liked this combination of Brecht and Shakespeare. In this particular scene he is portrayed as a child.
Even this monster has some innocence. I added two musical pieces that belong to the German UFA film tradition: Since the film industry had some responsibility in what happened in Germany, I found it fitting to quote an UFA movie. I came across Damia by coincidence in Paris and I was surprised that many French people no longer know her.
Damia sang this song during the German occupation of Paris, and it ended up being forbidden. How important was the fact that the play was performed in France. Would you have staged the play in the same way in Germany? Perhaps I would have not included Damia.
How did the work with the actors come along? Did you have specific expectations or did you give actors a lot of freedom? I noticed that during rehearsals it was difficult for most of the ensemble to understand the language and also what I was up to. The way I dealt with the text was foreign to them at the beginning, even irritating. I could clearly feel it. They did not see the point of such a powerful style of play that has nothing to do with naturalism.
But the nice thing is that they remained intrigued and they gave it a try. They were full of curiosity and eager to experiment without any value judgment to see what comes out of it, and they ended up enjoying it. I was impressed with their dedication. It was a wonderful collaboration that was based a lot on trust. As time went by, the sense of reciprocity also grew. I can only rave about these actors. Their skills and mastery are incredible. I can see why they are such a highly acclaimed theater company. Yes, of course, for all of us. My assistant needed to translate a lot and it delayed things.
One needs to concentrate even more when one does not understand everything, but I could also show them a lot of things in German and they enjoyed it. I like to demonstrate a lot, I do it also with German actors. Still, it is easier when one masters a language well. The stage setting includes a spider web and a raked stage. Why did you have actors perform on a steep stage? A steep stage offers a completely different perspective.
It requires other forms of movement that are not necessarily natural.