Vine
Vine
Rebstock, Matthias
works as a director in the field of contemporary music theatre. His work focuses on developing pieces at the interface between music, theatre and digital media as well as premieres of music theatre and new operas. From 2001-2011 he directed the music theatre ensemble leitundlause. Since 2004, he has been working closely with the composer Elena Mendoza, which has since resulted in the music theatre projects Niebla (premiere: Kunstforum Hellerau, Dresden 2007; awarded the Music theatre now prize 2008), La Ciudad de las Mentiras (commissioned by Gerard Mortier, premiere Teatro Real Madrid 2017) and Der Fall Babel (premiere Schwetzinger Festspiele 2019). His works can be seen at numerous national and international festivals and stages, including Teatro Real Madrid, Staatsoper Stuttgart, Nationaltheater Mannheim, Konzert Theater Bern, Konzerthaus Berlin, Neuköllner Oper Berlin, Biennale für Musiktheater München, Kunstfest Weimar, ECLAT Stuttgart, musicadhoy Madrid, GREC Festival Barcelona, New Music Festival Stockholm, Musicia Nova Sao Paulo etc.
Matthias Rebstock is Professor of Scenic Music at the University of Hildesheim and author of numerous books and articles on forms of staging music, in particular forms of musicalised theatre, music theatre and opera, as well as on the history and aesthetics of New Music.
Publications
Independent publications
Matthias Rebstock: Composition between music and theatre.
The instrumental theatre of Mauricio Kagel between 1959 and 1965,
Hofheim 2007
Editorships
Matthias Rebstock and ITI Germany (ed.): Freies Musiktheater in Europa. Vier Fallstudien zu den Szenen in Berlin, London, den Niederlanden und der Deutschschweiz / Independent Music Theatre in Europe. Four Case Studies on the Scenes in Berlin, London, the Netherlands and German-Speaking Switzerland, Bielefeld: transcript May 2020
David Roesner and Matthias Rebstock (eds.): Composed Theatre. Aesthetiscs. Practices. Processes, Intellect, Bristol 2012
Hajo Kurzenberger, Hanns-Josef Ortheil and Matthias Rebstock (eds.): Collectives in the Arts, Hildesheim 2008
Christa Brüstle and Matthias Rebstock: VideoKonzerte. Documentation DVD for the event series of the same name organised by the berliner gesellschaft für neue musik, Berlin 2007
Christa Brüstle and Matthias Rebstock (eds.):
reflexzonen / migrationen, yearbook of the berlin society for new music,
Saarbrücken 2006
Christa Brüstle, Matthias Rebstock and Holger Schulze (eds.): musik / politik, yearbook of the berliner gesellschaft für neue musik, Saarbrücken 2004
Essays
On the aesthetics and working process of Elena Mendoza's music theatre, Contemporary Music Review, spring 2019
Strategies for the production of presence, II (new version of the 2009 article) in: Martin Tröndle (ed.): The Concert, Contributions to the Research Field of Concert Studies, Bielefeld 2018
Paradoxes between appropriation and demarcation. Reflections on the cultural identity of new music, positionen 111, May 2017, pp. 3-9
YouTube as a place of discovery. Is the present stronger than the past?, positionen 117, November 2018, pp. 38-42 (together with Martin Schüttler)
On the relationship between cultural studies and aesthetic practice. Eine Standortbestimmung aus Sicht der Hildesheimer Kulturwissenschaften, in: Rolf Elberfeld and Stefan Krankenhagen (eds.): Ästhetische Praxis als Gegenstand und Methode kulturwissenschaftlicher Forschung, Paderborn: Fink 2017, pp. 27-42.
Spielarten Freien Musiktheaters in Europa, in: Manfred Brauneck / ITI Centre Germany (eds.): Das Freie Theater im Europa der Gegenwart. Structures - Aesthetics - Cultural Policy, Bielefeld 2016, pp. 559-612
Walks in semantic spaces. On the music theatre concept of Dieter Schnebel's 'Utopias', in: Theda Weber-Lucks (ed.): Dieter Schnebel. Lateral thinker of the musical avant-garde, Munich 2015, pp. 132-146
The murmur with Ruedi Häusermann. Inszenieren an den Rändern der Wahrnehmung, in: Wolf-Dieter Ernst, Arno Mungen, Nora Niethammer, Berenika Szymanski-Düll (eds.): Sound und Performance. Positions - Methods - Analyses, Würzburg: Königshausen & Neumann 2014, pp. 419-426.
Music theatre. Creating spaces for play, in: Wolfgang Schneider (ed.): Developing and planning theatre, Bielefeld 2013
"Ca devient du théatre, mais ca vient da la musique": The Music Theatre of Georges Aperghis, in: Rebstock / Roesner 2012
Composed Theatre: Mapping the field, in: Rebstock / Roesner 2012
Drama of the voices. On the relationship between body and voice in David Marton's "Wozzeck", in: Stephanie Schroedter (ed.): Bewegungen zwischen Sehen und Hören, Würzburg 2012
In the vanishing point of the senses. Music theatre as work on a phenomenology of hearing, in: Christa Brüstle and Clemens Risi (eds.): Macht Ohnmacht Zufall, Berlin 2011
Witz weg, review of the DVD production XXX_Live_Nude_Girls!!! by Jennifer Walshe, in: positionen 83, May 2010, p. 51.
Lyssnandets iscensättning - eller musikteater som en lyssnandets fenomenologi
Nutida Musik 1/2010, p. 18-26
Possibilities of increasing presence in New Music,
in: Diskussion Musikpädagogik, special issue 2, 2009, pp. 30-38.
The experience of listening to music, in: Neue Zeitschrift für Musik No. 4, 2009, pp. 14-17
Theatrical production of musical presence. "Immanent Theatre" and "Theatre of Immanence", in: Michael Kunkel and Martina Papiro (eds.):
Kagels Der Schall. Mauricio Kagel's Instrumentarium, Saarbrücken 2009
The opera between reconstruction and deconstruction, in: Mathias Mertens (ed.): Re. Strategies of Realisation, Tübingen 2009
The crisis of the concert as a crisis of its presence? Authenticity, perfection and performance, in: Martin Tröndle (ed.): Das Konzert: Dramaturgie, Form und Ökonomie. On the practice of performance culture, Bielefeld 2009
On the presence of the absent in Mauricio Kagel's instrumental theatre,
in: Werner Klüppelholz (ed.): From Instrumental to Imaginary Theatre - Musical Aesthetic Transformations in the Work of Mauricio Kagel, Hofheim 2008
Notated collectives. Functions of musical notation in collective composition processes, in: Hajo Kurzenberger, Hanns-Josef Ortheil and Matthias Rebstock (eds.): Kollektive in den Künsten, Hildesheim 2008
Theory of practice, practice as theory. Reflections on a 'practical music-theatre science', in: Stephan Porombka, Wolfgang Schneider and Volker Wortmann (eds.): Jahrbuch für Kulturwissenschaften und ästhetische Praxis,
Tübingen 2008
The "Música para la torre" by Mauricio Kagel in the light of concrete art in Buenos Aires, in: Stephan Porombka, Wolfgang Schneider and Volker Wortmann (eds.): Jahrbuch für Kulturwissenschaften und ästhetische Praxis, Tübingen 2007
"Just do your job" - Role concepts in new music theatre, in: Lydia Jeschke and Daniel Ott (eds.): Geballte Gegenwart, Experiment Neue Musik in Rümlingen 2005
The results contradicted my instinct. On the compositional process in Mauricio Kagel's Instrumental Theatre, in: Ulrich Tadday (ed.): Musik-Konzepte 124: Mauricio Kagel, Munich 2004
Analysis in New Music Theatre. Discussion of interdisciplinary approaches, in: Diskussion Musikpädagogik, No. 18, 2003, pp. 26-32
On narration in new music theatre, in: positionen 55, May 2003, pp. 18-22
List of productions (selection)
Quaderno die Strada by Salvatore Sciarrino in a scenic version Musical direction: Lennart Dohms, stage and costumes: Sabine Hilscher, a production of HKB Bern, Gare du Nord Basel and Dampfzentrale Bern 2020 (postponed due to Corona)
The Fall of Babel by Elena Mendoza and Matthias Rebstock (UA) with texts by Fabio Morabito, Yoko Tawada and Cécile Wajsbrot, Schwetzinger Schlossfestspiele 2019. Musical direction: Walter Nußbaum, stage: Bettina Meyer, costumes: Sabine Hilscher, electronics: Joachim Hass (SWR Studio)
Funkhaus Weimar. With Nietzsche on air (play development). Kunstfest Weimar 2018, composition: Michael Emanuel Bauer, space and projections: Sabine Beyerle, Sabine Hilscher and David Reuter, costumes: Sabine Hilscher
Utopias by Dieter Schnebel (premiere), Munich Biennale for Music Theatre. Stage and costumes: Sabine Hilscher, Stuttgarter Vocalsolisten, Munich, Berlin, Stuttgart 2014 as well as Schwäbisch-Gmünd and Stuttgart 2018
Büro für postidentisches Leben / Office for postidentical living Play development together with Tilman Rammstedt and Marc Rosich (text), Raquel García-Tomas (music and projections) and Sabine Hilscher (stage and costumes), GREC Festival Barcelona / Neuköllner Oper Berlin 2016
The great learning by Cornelius Cardew, performance in the building complex of the Tonhalle Maag with around 200 amateurs and students from the Basel University of Music. Together with Titus Engel, Tonhalle Maag Zurich 2018 (transfer of the concept from Frankfurt
The great learning by Cornelius Cardew, performance of Opernplatz and Alte Oper Frankfurt with 370 amateurs and professionals from the Frankfurt region. Together with Titus Engel, Alte Oper Frankfurt 2014
Expedition Freischütz (play development), music: Michael Emanuel Bauer, stage and costumes: Sabine Hilscher, Bürgerbühne des Staatsschauspiel Dresden 2014
Neither by Morton Feldman. Musical direction: Steffan Schreiber, stage and costumes: Sabine Hilscher, Konzert Theater Bern 2013
Wanderlust. Aus dem Leben eines Stubenhockers, play development together with Hermann Bohlen (text) and Michael Emanuel Bauer (music), Neuköllner Oper 2012
Die Geisterinsel (UA) Opera by Ming Tsao in the Stuttgart State Library, musical direction: Steffan Schreiber, set and costumes: Sabine Hilscher, Stuttgart State Opera 2011.
visiones-ficciones: staging of the scenic concert with world premieres of the pieces Fe de erratas by Elena Mendoza, Engel-Studien by José Maria Sanchez-Verdu and Tragicomedia by Michael Hirsch, Neue Vocalsolisten Stuttgart, ECLAT Festival Stuttgart 2009, guest performances in Berlin, Bonn and Munich.
Speakers. Stories from the second row. Play development with the leitundlause ensemble, music: stage and costumes: Sabine Hilscher, Neuköllner Oper Berlin 2008, new version for the Heinrich Böll Foundation 2009
Niebla by Elena Mendoza-Lopez and Matthias Rebstock, musical direction: Titus Engel, stage: Moritz Nitsche, costumes: Sabine Hilscher, Kunstforum Hellerau/Dresden 2007, guest performances in Berlin and Madrid in 2009
Moon Escape. Play development with the ensemble schindelkilliusdutschke, Konzerthaus Berlin 2007, guest performances in Potsdam, Stettin, Bröllin, 100Grad Festival Berlin, Dublin
Little Red Riding Hood by Georges Aperghis, stage: Christian Thurm, costumes: Sabine Hilscher, Junge Oper Mannheim 2007, guest performances in Basel, Nuremberg and Berlin as well as revivals in Mannheim in summer 2008 and autumn 2009
tiny. Music theatre for a house by Manos Tsangaris. Musical and scenic direction: Matthias Rebstock, space: Sabine Hilscher. Nationaltheater Mannheim and Stadttheater Hildesheim, 2006/7
Geschichten aus dem Plänterwald, piece development with the leitundlause ensemble, music: Theo Nabicht, stage and costumes: Sabine Hilscher, Neuköllner Oper Berlin 2006
Chimäre (UA) by Susanne Stelzenbach and Ralf Hoyer, BKA Berlin 2006, Gasstpiele Theatre Brandenburg, Villa Elisabeth Berlin, Pyramidale Berlin 2008
gaumenkino. footnotes to teleacoustics. Play development with the leitundlause ensemble, musical and scenic direction: Matthias Rebstock, stage and costumes: Sabine Hilscher, Sophiensaele Berlin, Theatre Brandenburg, Konzerthaus Berlin and Fringe Festival Dublin 2004-6
MoMa by Dieter Schnebel, musical and scenic direction: Matthias Rebstock, stage and costumes: Sabine Hilscher, series Visible Music, Nationaltheater Mannheim 2005
Die Maulwerke by Dieter Schnebel with the Kunstarbeiders Gezelschap Gent, 2005 (guest performances in Antwerp, Berlin, Stockholm and Sao Paulo)
Sport with pieces by Satie, Schnebel and Aperghis at the Konzerthaus Berlin 2004
Luisas Traum (première) by Christof Herzog in a co-production of the Komische Oper and the UdK Berlin 2004
Description of a Struggle (UA) by Michael Hirsch after Franz Kafka, Ensemble leitundlause, staatsbankberlin, 2003
Productions and projects as part of teaching at the University of Hildesheim
prepared! A homage to the prepared piano by John Cage, University of Hildesheim 2007
Zettel's nightmare. An opera remix, production with students of the University of Hildesheim 2008
Das Haus der Fama: Production with students of the University of Hildesheim 2010