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(18 Total References)
Biography / Wim Wenders - The Official Site
PETER PABST - ART DIRECTOR
Peter Pabst is used to crossing boundaries.
Since 1979 he has been a freelancing set and costume designer in theatre, opera, dance, film and television, and up to now has created stage sets and costumes for more than 100 theatre and film productions, including the Rock Show "Dröhnland Symphony ", the exhibition "Spaces - Dreams " at the Museum Bochum, the book "PETER for PINA", and has taught in Beijing and Shanghai.
His work has taken him to almost all major European cities, to America, and Asia.
He has worked with Luc Bondy, Klaus Maria Brandauer, Udo Lindenberg, John Schaaf, Istvan Szabo, Jürgen Flimm, Robert Carsen, Chen Shi Zheng, Tancred Dorst, Andrei Serban and many others.
But his main working partners have been Peter Zadek, with whom he has a long working relationship and personal friendship, and above all, Pina Bausch and her Tanztheater Wuppertal.
In 1980 he designed his first set for a piece by Pina Bausch.
This was the beginning of an exceptionally close artistic and personal relationship, a symbiotic collaboration that lasted until the death of the great choreographer in 2009.
During these years, Peter Pabst designed and realised 25 "play-rooms" for Pina Bausch, including "VOLLMOND (Full Moon)".
Peter Pabst has been awarded the Kainz Medal of the City of Vienna, has been appointed Chevalier des Arts et des Lettres in France, and awarded the title of Professor by the Minister President of NRW.
Auf dem Gerbirge hat man ein ...
Auf dem Gerbirge hat man ein Geschrei gehört(On the Mountain A Cry Was Heard) is an engrossing production set upon a soil-strewn stage and featuring music by Purcell, Edith Piaf and Billie Holiday; and Ahnen, first performed in 1987, features a similarly diverse score and takes place in a thorny desert-scape conceived by the brilliant set designer Peter Pabst (15 - 26 April).
Ahnen, first performed in 1987, has ...
Ahnen, first performed in 1987, has a similarly diverse score, and takes place in a thorny desert-scape conceived by set designer Peter Pabst.
What Moves Me | Pina Bausch Foundation
I had asked the set designer Peter Pabst, who had worked with many directors - both for theatre and film - to do this work with me.
It was a great stroke of luck for me when he agreed to do the set for the piece 1980.
For more than 27 years now, Peter Pabst
and I have been involved with great pleasure in the adventure of doing a piece that doesn't exist yet.
But that is not all.
For me Peter Pabst
is not only important as a set designer, but through his
advice and actions, for us all and for the many concerns of the dance theatre, he
has become indispensable.
Loosely translated as 'the fleeting time of youth, beauty and love', Rocha has explicitly taken the metaphor and plastered red flower appliqués against delicate tulle dresses and coats - closely resembling the 40,000 scarlet blossom petals that set designer Peter Pabst had included in Piña Bausch's 1997 Der Fensterputzer.