Aileen Schneider is an Award-winning German stage director, author and spoken word performer. Since early childhood she gained experience in creating art that ranges from progressive formats and devised pieces to the operatic repertoire. Her visionary reinterpretations are characterized by a thorough exploration of socio-political issues that reaches deeply into the core of the material, revealing systemic mechanisms and interpersonal patterns. Of particular importance to her is the precise psychological work with the performers to create vibrant and multi-layered characters. Her aesthetic reimagines itself uniquely for every form to convey specifically what is needed from the format by using a multimedia mixture inside of a stylized magical realism.

For closer information about her work as a stage director, please visit the threads „Biographie“ and „Inszenierungen“. 

For more information about Aileen Schneider as a Spoken Word Artist, please visit "Spoken Word Poetry".

REZENSION COMBATTIMENTO/TEETH

Aileen Schneider hat für all das den inszenatorischen Rahmen geschaffen. Sie führt die Figuren klug und rationell, zeigt etwa Robert in jedem Moment als Verführer und Vergewaltiger, zeigt, wie all seine Liebenswürdigkeiten nur einem Zweck dienen, wie er dabei seine Besitzgier kaum beherrschen kann, so dass all seinen Bewegungen abstoßende (und doch momentweise auch faszinierende) Brutalität anhaftet. Warum, verdammt nochml, merkt A das nicht? Auch sucht die Regisseurin immer wieder produktiv den Weg in die Abstraktion, etwa im Spiel mit weißer und roter Farbe oder den fast tänzerisch ritualisierten Kampfchoreografien im „Combattimeto“. Bemerkenswert auch die Capriolen mit dem ferngesteuerten Auto und den Filmbildern in „Through his Teeth“.

 (...) [Hier ist ein] außergewöhnlicher Opernabend gelungen [...], der auch in größeren Städten sein Publikum finden würde.

Aileen Schneider created the directorial framework for all of this. She guides the characters with intelligence and precision, portraying Robert at every moment as both a seducer and a rapist, showing how all his charm serves a single purpose and how he can barely contain his possessiveness—so that all his movements carry a repulsive (and yet at times strangely fascinating) brutality. Why the hell doesn’t A notice this?

The director also repeatedly and productively seeks a path into abstraction, for example in her use of white and red color, or in the almost dance-like, ritualized fight choreographies in the “Combattimento.” Equally noteworthy are the capers with the remote-controlled car and the film imagery in “Through his Teeth.”

[…] [This is] an extraordinary evening of opera […], one that would surely find its audience in larger cities as well.

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