Stage and Costume Design

Renate Martin

Renate Martin has worked together with Andreas Donhauser under the label of »donmartin supersets« as a scenographer, designer and costume designer for films, opera, drama, video and exhibitions.

Jointly they designed, among others, for the films »Hundstage«, »Import/Export« and »Paradies 1, 2 & 3« by Ulrich Seidl, Wolfgang Murnberger’s »Ich gelobe«, »Komm süsser Tod«, »Silentium«, »Der Knochenmann« and »Das ewige Leben«, Michael Glawogger’s »Contact High«, Florian Flicker’s »Halbe Welt«, Michael Kreisl’s »Charms' Zwischenfälle« as well as »Hurensohn« and »The Casanova Variations« directed by Michael Sturminger. For the latter they created stage sets and costumes for operas at opera houses in Zurich and Graz, at Theater an der Wien (premiere of »I hate Mozart« with music by Bernhard Lang), the Mariinsky Theatre in St. Petersburg as well as for the Salzburg and Bregenz Festivals.

They additionally created decorations for productions of »Gormenghast«, »Le Grand Macabre«, »Tartuffe«, »As You Like It«, »Waiting for Godot«, »Così fan tutte«, »La clemenza di Tito«, »Orpheus und Eurydike«, »Wiener Blut«, »Il sogno di Scipione« and »Idomeneo«, at Aalto-Theater Essen for »Die Csárdásfürstin«, »Eugene Onegin« and »Ariadne auf Naxos«.

With Nikolaus Harnoncourt and the producers Tobias Moretti and Philipp Harnoncourt productions were performed of Mozart’s »Die Schuldigkeit des ersten Gebots«, »La finta giardiniera«, »Idomeneo«, Haydn’s »Il mondo della luna« and Strauss’s »Der Rosenkavalier«. For »Der Freischütz« (Director: Stefan Ruzowitzky) at Theater an der Wien they designed the stage set.

Scenographies of the exhibitions »Wolfgang Amadé, ein ganz normales Wunderkind«, as well as »Wozu braucht Carl August einen Goethe« at Stadtschloss Weimar with the curator Herbert Lachmayer provide examples of their spectrum of activities as well as production design of a series of international music video clips and commercials. Most recently, they have had premieres at Stadttheater Klagenfurt with Handel’s »Giulio Cesare in Egitto« and Kleist’s »Amphitryon« (both under the direction of Michael Sturminger).