German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach’s background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have interacted with this new technology and how filmmaking can be an integral part of the theatre indicate clearly that filmmaking has played an invaluable role in recent theatre history. Speckenbach here also speaks of his collaborations with other directors, notably Sebastian Hartmann and René Pollesch, and about the future perspectives of this technology, which has changed the theatre altogether.

Jan Speckenbach studied art history, philosophy, and media in Karlsruhe, Munich, and Paris during the 1990s. At the beginning of the new millennium he participated in the development of video theatre with Frank Castorf and, now a successful filmmaker, he also continues to work in the theatre. His short film Gestern in Eden [Yesterday in Eden] premiered at Cannes in 2008, while the full-length feature film Die Vermissten [The Missing] was shown at the 2012 Berlinale and Freiheit [Freedom] at the 2017 film competition at Locarno. In 2020 he directed the live-stream of Der Zauberberg [The Magic Mountain, after Thomas Mann’s novel] at the Deutsches Theater in Berlin (premiered online in November 2019), which was subsequently invited to the Berlin Theatertreffen. Thomas Irmer is the editor-in-chief of the Berlin-based monthly Theater der Zeit. He has co-edited two books on the work of Frank Castorf – Zehn Jahre Volksbühne Intendanz Frank Castorf (2003) and Castorf (2016). During the last forty years he has authored, among other significant writings, numerous analytical articles and interviews on Castorf’s creative output.

德国电影艺术家 Jan Speckenbach 巧妙地为舞台现场视频的发展做出了贡献，本次讨论的重点是他的教育，以及从 2000 年开始在柏林人民剧院与导演 Frank Castorf 的实验合作。 Speckenbach 的电影和媒体背景研究促进了他对剧院未知领域的探索，从舞台上的一组固定摄像机到使用摄像机团队对增强图像进行实时编辑，作为整个导演概念和过程的一部分。他对演员如何与这项新技术互动以及电影制作如何成为剧院不可或缺的一部分的第一手见解清楚地表明，电影制作在最近的戏剧史上发挥了不可估量的作用。Speckenbach在这里也谈到了他与其他导演的合作，

Jan Speckenbach 于 1990 年代在卡尔斯鲁厄、慕尼黑和巴黎学习艺术史、哲学和媒体。在新千年伊始，他与弗兰克·卡斯托夫（Frank Castorf）一起参与了视频剧院的发展，现在是一名成功的电影制作人，他还继续在剧院工作。他的短片Gestern in Eden [昨天在伊甸园] 于 2008 年在戛纳首映，而长篇故事片Die Vermissten [ The Missing ] 在 2012 年柏林电影节和2017 年洛迦诺电影竞赛中的Freiheit [自由] 放映。2020年执导Der Zauberberg [魔山，继托马斯曼的小说]在柏林德意志剧院（2019年11月在线首映），随后被邀请到柏林Theatretreffen。Thomas Irmer 是位于柏林的月刊Theatre der Zeit的主编。他与人合编了两本关于 Frank Castorf 作品的书籍——Zehn Jahre Volksbühne Intendanz Frank Castorf (2003) 和Castorf (2016)。在过去的四十年里，除了其他重要著作外，他还撰写了大量关于 Castorf 创意成果的分析文章和访谈。