P e r f o r m e r

 

 

Norbert Götz,
born in 1954

 

Many people have been companions on my "way of shadow and light", some of them for a long time. They are acknowledged here with gratitude and in friendship:
Andre Hammon,
whose imperturbable patience helps to create posters and flyers of good quality.
Jürgen Hanelt,
with his fine ear who takes care of the sound track of my productions.
Sonja Krebs and Marco Schott
who know how to capture the beauty of shadow and light with their camera.
Therese Thomaschke, Madeleine Giese and Joachim Torbahn
who help to turn my ideas into stories that may be acted out on the stage.

 

And of course:
my wife, whose clear and incorruptible intelligence and emotion acts like a compass on my way,
my son Matthis, who was willing to take on the challenges of this website
and my friends Lutz, Michael and Harald, helpful jacks-of-all-trades.

 

since 2016

Projections with optical lenses

2015 "Mattis gift"
Atmospheric images and shadows

 
since 2013 Development of light painting

 

since 2012 Movements towards „light art“:
working with single objects which are projected onto the screen with various illuminants and are moved as an image; working with symmetry, duplication, multiplication and distortion as fundamentals of the choreographic use of light

2012  "Dot, comma, line"
LEDs and geometric shapes

2011 "Star gazer"
Diffraction and reflection with LEDs and lasers
 
since 2010 Reserches among the refractions of light with LED and Laser

2009  "Emil and the detectives"
shadows and glas paintings
 
since 2009 Developing different techniques in the field of LED, developing a compatible light system with LED and Halogen
 
since 2008 Twice a year basic and advanced workshops with techniques of modern shadow theatre

2007  "The Secret of the Angels"
shadows and reflections
 
since 2007 Developing a lighting system that incorporates every potential dramaturgic option (long shot/background, detail, aperture, reflection, etc.)

2006  "17 Phrases on Light"
lyrics and images with reflected and refracted light

2005  "One night when it was cold ..."
figures and images of light
 
since 2005 Special play "Light and Shadow in Bamberg" in St. Catherine's Chapel in the Alte Hofhaltung on the Cathedral Place in Bamberg

2004  "Light and Shadows in Bamberg"
various stylistic devices of contemporary shadow theatre

2002  "Coeur des choses"
performance with shadows and reflections
 
since 2002 Light refinement: reflection, refraction and diffraction as features of light useful for image creation

2001  "Peter and the Wolf", based on S. Prokofieff,
pop up book and foreshortened shadows

2000  "The White Wolf", based on Paul Maar,
choreography of the shadow scenes at the State Theatre Stuttgart

1999  "Treasure Island", based on R.L. Stevenson,
foreshortened shadows with carved figures

1998  "Curse of the black fish", State Theatre of Windhoek, Namibia,
figures with motives of cave paintings, contribution to the World Exhibition in Lisbon 1998

1997  "The King and I", shadow play in a cloistered courtyard, Feuchtwangen,
expressionistic shadows based on motives from "Uncle Tom's Cabin"

1997  "Josa with the magic fiddle", based on Janosch,
two-dimensional play with three hand lights

1996  "The Christmas Story"
 
since 1995 Developing various techniques of playing with halogen lighting

1994  "Spaghetti, Spaghetti"
 
since 1994 Working with spotlights, developing modes of playing with shadows in space: guided light and moving figures, two- and three-dimensional images, drama, choreographies of light, various screens

1992  "Tilli and Frederik", based on Leo Leonni
 
1986 - 94 Decomposing the light into colours (polarisation), working with overhead projectors and extremely bright light sources, developing open modes of playing in front of the screen, using small figures with diverse mechanisms.
 
since 1985 Touring with the shadow theatre in Europe, guest performances at international festivals of puppet theatre

1985  "The Pied Piper of Hamelin
 
1984 - 86 Working with natural light sources, correlating light intensity and acuity of shadows, traditional Asiatic shadow play behind the screen."