DAS WOHNZIMMER MEINES LEHRERS
Premiere: 15 of April at Schauspielhaus Hannover, Germany
Regie und Video: Mathias Max Hermann
Bühne: Maret Tamme
Dramaturgy: Anna-Katharina Müller/Philipp Schulte
THE SOUND AND THE FURY
The starting point for the scenography of The Sound and The Fury was the question of how to create a space where both the audience and the performers would feel as outsiders. Or as idiots in Faulkner’s universe. At the same time I wanted to create a space which would respect the given architecture of the black box. And rather than placing a decoration inside of it have a stronger impact by removing something from it.
The black box is divided into two spaces - the above and the underground. The space above, where the audience is placed, is a black burnt room with three holes in the ground. The underground, which can be seen vaguely through the holes is a realistic living room, juxtaposing the black space with its density, brightness and noisiness. This part of the scenography represents the noise of everyday, the theatricality, the fake, the shallow. The room upstairs speaks of desolation and outsiderness. The planks of black wood represent a kind of place of destruction but from the moment of decay it becomes the conserver of life. It is also the honest space - a space where a person is when being alone, asleep or an idiot.
The burnt wood was later reused for a construction of an apartment floor in Trondheim.
Trøndelag Teater, Norway 2016
Director: Kjersti Haugen
Dramaturgy: Kristofer Grønskag
Scenography and costumes: Maret Tamme
Light design: Steffen Telstad
Performers: Mira Dyrnes Askelund, Ida Cecilie Klem, Gunnar Eriksson
Photos by: Signe Fuglesteg Luksengard, Maret Tamme
PEOPLE IN WINDOWS
People In Windows is a particular story of love. Two people who meet by gazing out of their apartment windows fall in love and spend the rest of their lives together. But together apart - continuing their everyday lives and communicating through the window they never meet, talk or touch. Yet they are together in everything. This performance is based on aN Estonian short story written in 1970’s but obtains a very different meaning nowadays - in times where constant virtual communication is replacing a real meeting and relationships where lovers spend most of their time together apart or in a non-existant space between two places become more and more common.
My main concept of the scenography is stressing exactly this empty space between two apartments that is in the middle of the stage, in the very center of our gaze. The framing of the stage creates a third window where the audience is curiously observing the silent communication of the two lovers. The gap between is silently getting smaller and smaller (the platforms are moving closer together) but they never reach to meet.
Endla State Theatre, Pärnu, Estonia 2017
Director: Laura Mets
Scenography and costumes: Maret Tamme
Light design: Karmen Tellisaar
Performers: Saara Nüganen and Ott Raidmets
Photos by: Gabriela Liivamägi, Maret Tamme
THE FENCE
The Fence is an outdoors installation and a 20 minute long performance inside a fence. The installation creates an outdoors enclosure, claiming a space as “inside” but without any justification. At the same time people gathered inside the fence are left outside from the rest of the space. In the performance these sides play an important role by creating an offstage and an onstage without clarification on which side represents what.
In the performance I position the audience inside the fence and the performer outside of it and ask him to tease the audience with being an invisible performer : he is hiding from them for the whole performance. Here the detail of movement and the installation becomes into focus: a hole in the fence where suddenLy a curious eye appears can surprise the audience majorly. The dosage of things happening become so small that the alertness of the audience is very high. Tensions because of unknown intentions become very intense. I position the audience in the middle of the stage making the performer become invisible.
The fence was built 100% out of wood leftovers and constructed with an hammer and nails.
Bergen International Theatre Festival METEOR 2016
Concept and scenography: Maret Tamme
Performer: Rasmus Stenager Jensen
EXHIBITION GROSSRAUM: TECHNOLOGY AS PROPAGANDA
The exhibition Grossraum: Technology as Propaganda is a first part of a large-scale exhibition about Fritz Todt, his plans and engineering/architectural realizations in the Third Reich, the relationship between politics, power and spatial definition or occupation of sites. Norway played a special role in this context as parts of the planned megalomaniac constructions were to be erected with granite from Norway. The “Operation Todt” used millions of forced laborers, also in Norway.
The main idea was to focus on the development of technology as means of propaganda and seduction, which was the case during the Third Reich. Our exhibition consists of an appealing and seductive clean space which juxtaposes a narrow corridor filled with a showel-installation, brining the audience back to the executive work of forced labours behind all the glory of Todt’s ideas. In the centre of the main space we exhibit light pillars inspired by Albert Speer’s Cathedral of light from Nazi Party rallies. The pillars reflect in a mirror creating an effect of endlessness. In the second space the showels are positioned in a row, showing the movement from a digging position to carrying the showel on the shoulder, replacing a firearm.
Norwegian Museum of Science and Technology, 2015
Exhibition design: Alejandra Mendez Ramirez, Marie de Testa, Jan Hustak, Hazel Barstow and Maret Tamme (Norwegian Theatre Academy)
Photos by: Jan Hustak, Maret Tamme
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SUFFERINGS OF YOUNG WERTHER
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The Sufferings of Young Werther was staged during summer as an outdoors performance. It is placed into wild, abandoned garden of an old mansion. My concept for the scenography was to use the given as much as possible, to give the nature a possibility to be expanded into stage and to keep an element of unknown in the design. The play was staged classically so the costumes are inspired from the 17th century.
For Werther’s cottage we used an old garden house/woodshed, which was modified to look even more lonely, romantic and shattered. My main scenographical elements became the wind and the rain. For the latter we installed a system of pipes (pumping water from the nearby river) onto the roof of the cottage, letting water run freely during the romantic scenes in rain.
Endla State Theatre, Pärnu, Estonia 2015
Director: Laura Mets
Scenography and costumes: Maret Tamme
Light design: Margus Vaigur
Performers: Fatme Helge Leevald, Lauri Mäesepp and Sander Rebane
THE ENDURING SONG
The Enduring Song is a new documental Estonian play about a legendary compositor and musician Raimond Valgre, whose short but eventful life is presented through a socio-political perspective. His life was at its splendour during the 30s, but the IInd World War in Estonia changed him from a vivid and romantic gentleman into a suffering and deprived musician, whose songs were forbidden because of supremacy of the socialist party.
The text consists of three acts and in each act the locations change very rapidly. The idea of the scenography was to solve the problem of the movement and at the same time depict the glory of the Ist act, then, travel through the war in the IInd act until the recession and ruins of Tallinn in the IIIrd. The set design is a three-wall-construction, every wall has three doors. The inside of the wall is covered with a reflecting mirror. The orchestra pit is lowered to create more space in layers. Though the Ist act the mirror surface is being revealed, creating a luxurious image of the time. For the IInd act war scenes the construction is at the depth of the stage, leaving the stage empty in contrast. IIId act the construction reappears, but with the doors removed it has changed into a ruin.
Estonian Drama Theatre, 2014
Director: Merle Karusoo
Dramaturgy: Merle Karusoo, Liis Aedmaa, Jan Rahman, Piret Saul-Gorodilov
Scenography and costumes: Maret Tamme, Illimar Vihmar
Light design: Margus Vaigur
Perfromers: Märt Avandi, Laine Mägi, Harriet Toompere, Piret Krumm, Ülle Kaljuste, Robert Annus, Mihkel Roolaid, Pääru Oja,
Mait Malmsten, Juss Haasma, Raimo Pass, Taavi Teplenkov, Indrek Sammul, Ain Lutsepp, Guido Kangur, Jüri Tiidus, Tiit Sukk, etc
Photos by: Siim Vahur, Maret Tamme
The text consists of three acts and in each act the locations change very rapidly. The idea of the scenography was to solve the problem of the movement and at the same time depict the glory of the Ist act, then, travel through the war in the IInd act until the recession and ruins of Tallinn in the IIIrd. The set design is a three-wall-construction, every wall has three doors. The inside of the wall is covered with a reflecting mirror. The orchestra pit is lowered to create more space in layers. Though the Ist act the mirror surface is being revealed, creating a luxurious image of the time. For the IInd act war scenes the construction is at the depth of the stage, leaving the stage empty in contrast. IIId act the construction reappears, but with the doors removed it has changed into a ruin.
Estonian Drama Theatre, 2014
Director: Merle Karusoo
Dramaturgy: Merle Karusoo, Liis Aedmaa, Jan Rahman, Piret Saul-Gorodilov
Scenography and costumes: Maret Tamme, Illimar Vihmar
Light design: Margus Vaigur
Perfromers: Märt Avandi, Laine Mägi, Harriet Toompere, Piret Krumm, Ülle Kaljuste, Robert Annus, Mihkel Roolaid, Pääru Oja,
Mait Malmsten, Juss Haasma, Raimo Pass, Taavi Teplenkov, Indrek Sammul, Ain Lutsepp, Guido Kangur, Jüri Tiidus, Tiit Sukk, etc
Photos by: Siim Vahur, Maret Tamme
THE LADYKILLERS
The Ladykillers is a black comedy that takes place in an old shabby house, located between two railways, somewhere in the outskirts of London. This house belongs to an elderly yet witty and courageous lady, who one day discovers herself sharing the house with a quartet - a gang of criminals disguised into neat musicians. Together with the house, which has a remarkable personality and resistance thanks to its age, the lady starts to fight off the strange visitors.
My main challenge with this scenography was the directors wish to have a whole house on the revolving stage, so it could be turned in one piece. The text requiers good logistical planning; the story is packed with tricks: secret hiding places and shortcuts, blinking lights, strong shakings of the old house, fallings from the roof, hidings in the cupboards, 4 tragical deaths etc. Fun!
Estonian Drama Theatre, 2013
Text: Graham Linehan
Director: Roman Baskin
Scenography and costumes: Maret Tamme
Light design: Margus Vaigur
Performers: Lembit Ulfsak, Ita Ever, Ain Lutsepp, Martin Veinmann, Tõnu Kark, Egon Nuter
My main challenge with this scenography was the directors wish to have a whole house on the revolving stage, so it could be turned in one piece. The text requiers good logistical planning; the story is packed with tricks: secret hiding places and shortcuts, blinking lights, strong shakings of the old house, fallings from the roof, hidings in the cupboards, 4 tragical deaths etc. Fun!
Estonian Drama Theatre, 2013
Text: Graham Linehan
Director: Roman Baskin
Scenography and costumes: Maret Tamme
Light design: Margus Vaigur
Performers: Lembit Ulfsak, Ita Ever, Ain Lutsepp, Martin Veinmann, Tõnu Kark, Egon Nuter
