Often the term avant-garde serves as a synonym for difficult or inaccessible theatrical concepts, but with Ludwigs Frankenstein, avant-garde is astonishing. The production possesses far more power than another literal take on Shelleys oft-told gothic horror tale. In fact, an ecstatic madness seizes Ludwigs voodoo version of Frankenstein. The concept sounds crazy at first, and conjures a fleeting image of Frankensteins undead creation in a flowered shirt, sipping piña coladas. For his puppet-based adaptation of Frankenstein, Jon Ludwig ventures to the other side of the globe by evoking the feverish mysticism and music of the Caribbean.
Long standing partners are Ulrich Kodjo-Wendt, Mark Badur, Hahn Rowe, Gabriel-Hermand-Priquet, Sonja Albartus, Paul Friedrich.For her 1818 novel Frankenstein, or, The Modern Prometheus, Mary Shelley chose locations such as the Alpine climes and shadowy forests of Europe as well as the ice floes of the Arctic north.
He creates mysterious visuals of poetic beauty and an enormous power of seduction, beyond the well-known reality.įor each project different artists are invited for an artistique exchange. An objective style of narration and a structural minimalism give each of the productions a precise and essential touch. He develops a language on the stage that is marked by special visual aesthetics. Tibo Gebert uses the stage as a space for scenic experiments and artistic research, the creativity is inspired by intuition, inventive curiosity and productive spontaneity. Starting with a self-managed solo in 2005 up to the award Création et Expérimentation of the Institut de la Marionnette in Charleville-Mézières in 2015, the performer and scenographer incorporated a contemporary style into a form of art that is, up to today, in uenced by tradition. Over the course of the career, Tibo Gebert did cooperations with several European theatres that support and sponsor the Numen Company. Numen Company is a synonym for the artistic renewal of the contemporary puppet theatre that transcends the boundaries of the genre. Since 2020 he works and lives under the name Tibo Gebert in Berlin. Gert Engel (Das Portrait - In 2015 Tibo Gebert was honored by the Institut International de la Marionnette with the Prize for "Creation/Experimenation" rewarding a recent young artist / company who has renewed the language, practices and aesthetic forms of the arts of puppetry. (.) And even though the view extends far into the unknown, as spectators we are always left with the sense of a world that is oddly close to us, that each of us is familiar with, in his/her own way.” In this way, worlds emerge into an empty space – when you try to enter them, they disappear. They contemplate symbolic spaces whose location cannot be determined. „Tibo Gebert’s puppets take their time to let their eyes wander, while never revealing where they are directing their gaze or what they are looking at. The very special rhythm of the shows also participates in creating unusual bonds with the audience. With small gestures, he creates an associative, delicate and poetic theatrical experience. The puppets have the ability to oscillate between absence and presence. Tibo Gebert is an instinctive artist and invents an artistic world with great sensitivity. Since 2015, he engaged as a puppeteer and actor in the production The Ventriloquists Convention by Gisèle Vienne. From 2001 to 2007, he was a puppeteer in multiple productions of the American director, scenographer and puppeteer Roman Paska. The spoken word is subordinate to mysterious, minimalistic images, which are the bearers of meaning.Īpart from the solo work, he cooperated with several international directors. Tibo Gebert developed a very unique aesthetic language. He graduate of the Hochschule für Schauspielkunst "Ernst Busch" Berlin and the École Supérieure Nationale des Arts de la Marionnette Charleville-Mézières in France.
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