Stage Director & Performance Maker
Morag You’re A Long Time Deid
Morag You’re A Long Time Deid (2018)
Morag’s death left a silence in her place. When her grand-daughter Sam inherits her piano, she also inherits the mystery of Morag’s story. An intimate letter composed of fragmented Scottish ballads leads Sam to uncover Morag’s possible queerness. In piecing together Morag’s history through their shared Scottish musical heritage, Sam discovers a voice of her own.
This new experimental musical warps, disrupts, and reconfigures traditional Scottish storytelling, ballad singing and participatory community dance. Reimagining ceilidh theatre from a queer perspective, original compositions are playfully interwoven with electronic loops and interactive dancing to tell old stories anew.
„Morag, You're a Long Time Deid innovates in ways that defy the term „musical”. It is full of innovation, atmosphere, and love, you’re essentially left wanting more.”
- Stir, 13.6.2022
“Overall, Morag, You’re a Long Time Deid is a special show that breaks the barrier between concert, performative art, and musical theater. It is new and experimental, and definitely knows that. This shows in both the story and the show’s music treatment, making it a feast for production nerds and a good time for story lovers.”
- The Permanent Rain Press, 18.6.2022
CREATIVE & PRODUCTION TEAM (WORLD PREMIERE)
Claire Love Wilson & Peter Lorenz In Association with Touchstone Theatre and co-presented by the frank theatre company
Original Story & Concept by
Claire Love Wilson
Claire Love Wilson & Peter Lorenz
Claire Love Wilson, Steve Charles, Rob Thomson, Sally Zori & Dennis Joseph
Claire Love Wilson, Peter Lorenz and Daniela Atiencia
Musical Direction by
Sound Design by
Rob Thomson & Nicole Lamb
Composition & Arrangements by
Claire Love Wilson & Rory Comerford
Cultural Protocol and Consultation by
Set & Lighting Design by
Wladimiro A. Woyno R.
Costume Design by
Production Management/Technical Direction by
Stage Management by
Communications Management by
Front of House Management, Sponsorships & Communications by
Box Office Management & Photography by
Pedro Augusto Meza
Christian Yves Jones
Accessibility Coordination by
Sound Operation & Live Mix by
Light Operation by
Production Assistance by
Set Assistance by
Work-In-Progress Performances at the Gaiety Theatre in Ayr (GB) 2018, the Scottish Storytelling Centre in Edinburgh (GB) 2019 and the PushOFF Festival (CA) 2020.
World Premiere at the Russian Hall in Vancouver (CA) in 2022 with development support of Touchstone Theatre, the frank theatre, Canada Council for the Arts, BC Arts Council, The City of Vancouver, Austrian Federal Ministry for Arts, Culture, Civil Service & Sport, Austrian Cultural Forum Ottawa, Push International Performing Arts Festival, Theatre Replacement, Creative Scotland, Traditional Arts & Culture Scotland, Scottish Storytelling Centre, University of the West of Scotland Theatre Lab.
Gute Geständnisse Besserer Menschen
Gute Geständnisse Besserer Menschen (2022)
On Sundays, people take off their disguises and go out into nature. Exposed to the pressure to perform and the pursuit of lost youth, long accumulated hatred festers unseen in interpersonal en- counters. But at the weekend, all people are equal, all are sports shoe wearers in the forest. But what happens when people, far from civilisation, suddenly become creatures and recognise them- selves as hunters in the face of others?
Gute Geständnisse besserer Menschen is a linguistically sophisticated theatre text without fixed role assignments, without concrete characters. Little by little, we can guess what connects the three women on stage. Was it a crime? Were they the perpetrators or the victims? The breathless snippets of language, dialogues and text surfaces culminate in a collective self-empowerment: the response of the three women to extreme grievances in this society.
„convincing tightrope walk between psychogram and psychological thriller”
- Der Standard, 21.3.2022
Set & Costume Design:
Katarina Hauser, Alina Haushammer & Antje Weiser
World Premiere at Tiroler Landestheater Innsbruck (AT).
One toy land is turned into another toy land amidst the no man’s land between battlefield and playground. In the game of televised war, it is hard to tell who is allowed to say ‘we’ any more. A solo performer struggles with words and language as she attempts to untangle the machinery of war and mediatisation. She remembers media accounts of the Iraq war when she was a teenager and memories of the Bosnian war when she was a child refugee herself. In piles of human detritus and plastic toys, it becomes difficult to see the distinction between appearances and reality. Everything you see is true but none it is real. The violence lies in the act of representation and, with the help of live video, the performer tries to reclaim agency in the global cycles of constant destruction and reconstruction. Words are disembodied and reembodied. The frontline in the war of words between ‘us’ and ‘them’ starts to blur as accounts of Iraqi deserts and the siege of Sarajevo bleed into each other. The violent act of representation is played back to us on video and we find ourselves in the middle of this game of televised war. It all comes back round, especially the wars.
'I had the pleasure of being involved with the presentation of Bambiland as a supervising tutor at Glasgow University Theatre Studies department. Everyone here thought it to be a work of the highest quality in the rigour of its conceptualisation and the flare of its execution. I cannot recommend this excellent and vitally timely production more highly.'
- Dr. Graham Eatough (Director & Lecturer at the University of Glasgow)
written by Elfriede Jelinek
translated by Lilian Friedberg
directed by Peter Lorenz
performed by Jelena Bašić
dramaturgy by Irina Glinski
video by Michał Sztepiuk
with Stanley Smith
supervised by Graham Eatough
with technical support of Tony Sweeten
Performed at the James Arnott Theatre & the Glad Café in Glasgow (UK) as part of the Worker's Theatre Weekender.
Herr Mit Sonnenbrille
Herr Mit Sonnenbrille (2018)
The scenery seems somehow familiar. A village in the mountains. The landscape: dramatic and picturesque. The steel-industry used to be based here but since the factory has been closed, the entire village is set on tourism. Just, that it does not work as expected anymore: The tourists come only briefly, don’t stay or don’t come at all. Sometimes a worker jumps from a scenic rock and the village youth has no better occupation than sex anymore. Still everyone is proud of themselves. The village, the landscape, the community, not to forget the tradition: such things create identity which nobody can take away. ‘If you are inside you always want to get out but outside is usually overrated.’ Attempts to escape are pointless - where to? Still, He and She try to revolt against the We which is always the same and still they are actually fighting themselves. A fight which can only be lost: They stay and encounter themselves: an old, disillusioned couple, for whom the future ap- pears just as a memory. The staging focuses on the speechlessness between the characters and their inability to listen to each other. Caught in patriotic and male chauvinism, the characters can’t escape themselves in the eternal disappointment of their expectations and the resulting potential of violence between them. Words become only shells and replace discourse in an apparently idyllic world. Loving intimacy is seen as ‘heavy labour without prospect of something big’ and sexuality becomes passive consumption.
“Director Peter Lorenz locks the speechlessness and inability of people to listen to each other into the foreground in his production. Trapped in unemployment, patriotism and domestic violence, the characters can't get out of their own way and are left with nothing but empty words and passive consumption.”
- Bezirksblätter 7.11.2018
Set, Costume & Lighting Design:
Ensemble of the Generationentheater
Performed by the Generationentheater at theater diemonopol in Innsbruck (AT).
Rain Is Liquid Sunshine
Rain Is Liquid Sunshine (2016-2021)
What futures can we imagine when ideas of progress have drained away?
Rain is Liquid Sunshine asks how weather systems, deconstruction and other urban cycles might inspire collective urban imagination. In the exploration, The Doing Group situated themselves in a demolition site, engaging with the material qualities of both weather and detritus material found there. Performative interventions sought to activate the ubiquitous relationships between bodies, material and site, troubling notions of continual urban progress.
In the context of the black box theatre, Rain Is Liquid Sunshine interrogates how bodies and materials might create cycles and networks. Throughout the hour-long performance, a landscape emer- ges as materials reveal their singularities. Crashing rubble transforms into a soft dust, gently raining onto a thrumming metal grid. Handheld spray bottles dampen a climate in which a car tyre floats and tumbles in the gusts of a fan in the corner.
Each of the objects on stage weave their way into each other’s cycles, and the bodies of human performers become background to the vibrancy of what might often be passed off as left over. Through evocative images created by performing the materials potentialities, the performance negotiates how we might imagine our environment anew.
'The performance by The Doing Group, Rain is Liquid Sunshine, was full of apt visual metaphors about sustainable building, with well-chosen text to match. The GU students’ name is a riposte to the passivity of a reading group, of course, so when you’ve done with my words, take the hint and give them your active support.'
- Keith Bruce (Arts Editor for Herald Scotland)
'The Doing Group are true to using performance as a vehicle for thinking and feeling; it investigates what it means to live now, in a fragile and precarious time of political and ecological crisis. Rain is Liquid Sunshine is the best thing I have seen in Glasgow this year – an original and timely perfor- mance that does something new.'
- Prof. Carl Lavery (Professor of Theatre and Performance at the University of Glasgow)
Original Devised Performance at the Pollockshields Playhouse as part of the Southside Fringe, as part of the UNFIX: ReBirth! Festival at the Centre for Contemporary Arts (CCA) in Glasgow (GB) as well as as part of the Rote Salon Online Season at Volksbühne Berlin (DE).
Invisible Cities (2020-2022)
We all live our own realities of our city. These are our invisible city versions. Invisible Cities explores the imagination of lived urban perspectives through an interactive performance machine delivered to the audience in a pizza box.
The interactive performance machine in a pizza box allows for a pandemic-safe, haptic and participatory theatre experience that is delivered directly to the audience's home via cargo bike when pre-ordered by phone. The audience is introduced to the world of Invisible Cities within 45 minutes. The performance opens the imagination to the creative transformation of their city through description, sounds and shapes.
The audience's personal versions of the city are recorded in the pizza box and then presented online and in public space. Without human performers, the machine can talk to the audience, record responses, take photos and videos, and show images printed on transparencies and changeable with mechanical scrolls.
„Artist Peter Lorenz from Grinzens is breaking new ground.”
- Bezirksblätter, 18.9.2020
„Quite different is the very charming project of the "Invisible Cities", in which a tiny, analogue-digital theatre can be delivered to anyone's house in a pizza box.”
- Die Welt, 9.9.2023
„The process-oriented performance project "Invisible Cities Innsbruck" collects sonic and visual versions of their city from residents.”
- Tiroler Tageszeitung, 2.10.2020
Johannes Bereiter-Payr alias ludwig technique
Stefan Rasberger, labsal
Participatory Performance Project realised at Openspace Innsbruck (AT) in association with Magic Carpets Creative Europe Platform funded by the City of Innsbruck stadt_potenziale, presented at Magic Carpets Landed Exhibition of Kaunas Biennal (LT) for the opening of Kaunas European Capi- tal of Culture 2022, Fellowship at the Academy of Theatre & Digitally in Dortmund (DE) and revived at Kottbusser Tor, Berlin (DE) in association with Vierte Welt supported by Fonds Darstellende Künste, Dance on Tour Austria and the Austrian Ministry of Arts & Culture.
How Deep is the Sea
How Deep is the Sea (2020-2021)
At the beach. The sound of waves. Sunset. Satisfied or pacified? From the distance we hear bomb shelling. Anything but peace. But at least far away. In the security of our sunbeds, we hardly notice the rough violence on the other side of all the seamless comfort - the apparent smoothness of real- ity. But the sea cannot be stopped. Neither the thoughts which tie us to our sunbeds.
The waves take us to distant shores and with humor and sound experiments we explore the edge between tourism and terrorism, promises and overwhelmedness.
„Peter Lorenz and Martin Hofstetter offer an innovative radio drama with topically relevant themes.”
- Oberländer Rundschau, 31.5.2021
„Those who look for the multi-layered symbolism from the interplay of instrumental and verbal composition will not be disappointed. The radio play smoulders with subversive criticism and offers countless points of departure for an argument.”
- Komplex Kulturmagazin, 15.6.2021
Concept, Text, Direction & Performance:
Sound-Design & Performance:
Set & Lights:
Michaela Senn & Lisa Koller
Experimental Soundtheatre at the Theatre diemonopol in Innsbruck (AT) and on interaktiv Sunbed- Listening-Installations at Openspace, Talstation, Reich für die Insel, Vogelweide im Waltherpark, Audioversum in collaboration with BRUX freies Theater Innsbruck.
Supported by Austrian Chancellory Startstipendium, Tyrolian Culture Fund & the City of Innsbruck.
Time Dust (2016)
Dust does not help us to remember, it reminds us that we have already forgotten. The choreography TIME DUST investigates the temporality of ruins and decay on the basis of dust. The dance of dust and mirror-fragments takes us into the fragile world of remnants and disturbs the dust which has settled on the memory of war and trauma. In search of a future, present and past are burst in a haunting sound space. The disturbing excess of dust cannot be grasped - destruction and decay will eventually gain the upper hand.
TIME DUST’s simple movement language captures a sense of ruination and memory beyond words and speaks to audiences in affective images. The interplay between mirror-suit, dust and light creates ephemeral sculptures in the air. The choreography and soundscape intertwine and merge into a visual sound-choreography: the performer creates sounds with movements on and across the stage which are picked up by integrated microphones and transformed into complex soundscapes to which the movements react in turn again.
„Together with an international team, the topic of war and destruction is reworked for the Tyrolean audience using dust.”
- Bezirksblätter, 19.9.2018
„A surprisingly intense examination of history that produces fascinating images along the way.”
- Tiroler Tageszeitung, 25.10.2022
Concept, Text, Direction & Performance:
Presented at the Street Arts Festival in Mostar (BA) & in collaboration with Kollektiv Kreativna & CRVENA in Sarajevo (BA), funded by ASI Reisen & the Austrian Chancellory and revived at diemonopol in Innsbruck (AT), funded by the City Council Innsbruck & Tyrolian Culture Fund.
Imprints: Hush Hush
Imprints: Hush Hush (2015)
Living sculpture. Inside out. Secretchamberzipupboilercupboardrecyclingcave. A maze of sculpture, performance art, and sound installation invites you to playfully explore traces of the artists’ existence. New perspectives on living spaces and relationships between social/private and outer/inner life are opened up. Together we re-imagine intimate worlds. A vibrant diversity of microcosms subverts notions of success and failure. The place of exhibition provides the living context of the work.
This performative exhibition of interactive installations was presented by Trent Kim, Adam Carmichael and Peter Lorenz as part of the Glasgow Open House Festival 2015.
A Home for Nessie
A Home for Nessie (2017)
Nessie might be forced to move. Due to the uncertainties caused by Brexit, The Doing Group has filed an application for permanent residence in the name of the Loch Ness Monster. The UK Home Office has rejected this application, forcing Nessie to consider moving to a new lake within the EU. The general public is now invited to submit their favourite new lakes as a possible new home for the legendary creature.
Artistic Response to Brexit through Video, Online and Print Media in Glasgow (UK) commissioned by the Goethe Institute Glasgow and presented at the "Spaces of Exile - Performing Borders in Europe" Symposium at Tramway in Glasgow (UK).
As stage partner of Karl Valentin, Liesl Karlstadt was the most famous comedy actress in pre-war Germany. She spent the “best time of her life” as Obergefreiter (lance corporal) Gustl in a Tyrolean mountain trooper unit from 1941 to 1943 on the Ehrwalder high Alpine pasture, first as “stable boy” with her beloved mule pack animals directly beneath the Zugspitze mountain. A fifty-year-old woman, characterised nevertheless by the worst period in Europe, at the lowest point of her life among lots of young recruits. A suicide victim between heaven and earth. Sometimes she played the father, sometimes the nursing mother for the nineteen-year-olds, but above all they played peace in the midst of war. A young Tyrolean composer has now created a tragi-comic picture parade full of poetry and tender eloquence based on this true occurrence. A bizarre dance on the volcano.
„The audience can look forward to a spectacular stage set that brings the Alps to Brandenburg, wonderful music and a terrific ensemble.” - Genthiner Rundschau, 25.4.2023 „Acclaimed premiere of the opera "Stillhang" The story of the actress Liesl Karlstadt surprised and delighted the audience. Peter Lorenz was responsible for the extremely coherent stage design.”
- Märkische Allgemeine Zeitung, 15.5.2023
„Acclaimed premiere of Christian Spitzenstaetter's opera "Stillhang" at the Tyrolean Festival Erl. A piece of contemporary music theatre worth discovering. A total work of art in which every parti- cipant is perceptibly involved. Peter Lorenz built the grandiose, ambiguous, spiky set.”
- Tiroler Tageszeitung, 1.1.2019
Composer, Conductor & Director:
Librettist & Director:
Director, Set-, Costume- & Lighting-Design:
Commissioned by and performed at the Tiroler Festspiele Erl (AT) as well as at Theater Brandenburg an der Havel (DE). Awarded the Austrian Music Theatre Prize for best world premiere.
Fettes Schwein (2021)
Helen is almost Tom's dream woman: intelligent, quick-witted, charming, but overweight. He therefore prefers not to introduce her to his colleagues. With good reason, because as soon as his friend Carter sees a picture of Helen, he sends it to the whole company by e-mail. And Tom's ex- girlfriend Jenny goes crazy when she finds out that Tom is dating this "fat pig". Helen's weight is not the problem - she has long been at peace with her body. Tom, on the other hand, is increasingly unsettled by the pressure of conformity. A perceptive analysis of a society in which even love is subject to the rules of usability and the choice of partner affects one's own market value. For the Tyrolean premiere director Peter Lorenz has created a local adaptation and Tyrolian translation.
„Director Lorenz makes visible and perceptible in quite strong scenes how private happiness gets under the wheels of social norms.”
- Der Standard, 16.8.2021
„Director Peter Lorenz stages the play very sensitively when he shows the audience a cynical world in which appearance counts and character degenerates into a situationally elastic exercise. Fun, there's that too, and thoughtfulness well balanced, Lorenz presents an image of society that unfortunately corresponds only too closely to reality. Enthusiastic applause.”
- Tiroler Tageszeitung, 15.8.2021
Text: Neil LaBute
Direction & Adaptation: Peter Lorenz
Scenography: Rubén San Roman Gámez
Costume Design: Uschi Haug
Performers: Anna Lena Bucher, Josef Mohamed, Jakob Egger & Katarina Hauser
Tyrolian Premiere at Großer Rathaussaal as main production of Tiroler Volksschauspiele Telfs (AT).
NO MONUMENT TO NO NATION
NO MONUMENT TO NO NATION (2021)
As part of the 10th Street Arts Festival Mostar, Italian architect and social designer Enrico Tomassini and Austrian stage director and performance-maker Peter Lorenz, facilitated a participatory workshop with masters students from the Social Design Programme of the University of Applied Arts in Vienna.
Over the course of 5 days, the group explored public spaces of Mostar and traced lines of nationa- list rhetoric in the architecture and structuring of space itself within the city of Mostar. Taking inspiration by Bogdan Bogdanovićs Partisan Memorial in Mostar that shaping new forms of commemoration in order to transgress conventional ideas of monuments.
In the spirit of their practical exploration and experiments within the urban fabric of Mostar,
NO MONUMENT TO NO NATION
expands the open script and radical erasure methodology of the Some Call Them Balkans research project by The Ground Tour Collective from 2017 into a participatory intervention in the public space of Mostar in order to spatially challenge nationalist narratives.
Performed at Street Arts Festival Mostar (BA) with Paulina Flores, Jelena Maschke & Eugenia Kozklova supported by the Austrian Cultural Forum & the University of Applied Arts in Vienna (AT).
As part of the Austrian Artist Delegation funded by the Austrian Embassy in Sarajevo, we designed a three-day multi-arts workshop for the Street Arts Festival in Mostar. We used walking practices like drifting and soundwalking to explore the sonic character of the city of Mostar. The objects and materials found on our walks were upcycled into instruments and assembled into an interactive sound-installation in the abandoned ruin of the Old Library. Now, this transformed public sound-library invites passerbies to leave their ordinary walking routes and engage creatively with their living environment. The reappropriation and instrumentalisation of the trash in the installation represents a collective auditory reimagining of what is left behind in the city. The collaborative process aimed to open up the participants’ perception of the city through sonic exploration leading to a recovery of agency in shaping the city through its soundscape.
Interactive Sound Installation by Laurin & Peter Lorenz at the Street Arts Festival in Mostar (BiH) awarded a Walking Visionaries Award at Walk21 in Vienna (AUT) supported by the Austrian Embassy in Sarajevo (BiH).
Is this really something you want to see or would you rather be somewhere else? What else would you be doing? The Doing Group can do it for you. You have the choice and you will be disappointed. Indescribable excess is the cause of our desires. Still, we try to surprise you. We have created an impossible third space of encounter between simultaneous performances in Glasgow and Helsinki and we might have gotten a bit lost in it. As we find ourselves tied to the mast desiring different elsewheres, we drift off. Now, we have committed to it. We are obliged to enjoy.
Original Devised Performance by The Doing Group shown at the James Arnott Theatre in Glasgow (UK) and at Temporary in Helsinki (FI) supported by the Alistair Cameron Scholarship and TeaK.
Peter Lorenz is a freelance stage director and transdisciplinary performance maker. His works move between contemporary theatre, new opera, experimental sound performances, interventions in public space and interactive installations.
While studying applied theatre studies with a focus on directing at the University of Glasgow, he worked as an assistant director in drama and opera (including Scottish Opera, Vancouver Opera, Cologne Opera, St. Gallen Theatre, Warsaw Chamber Opera, Potsdam Sanssouci Music Festival, Innsbruck Early Music Festival and Bayreuth Festival). He has also developed his own productions and experimental performances in Austria, Germany, Canada, the UK and Bosnia and Herzegovina, where he co-founded the Street Arts Festival Mostar in 2012.
Through his inherently transdisciplinary and collaborative approach, his works are always infused with a musicality, as well as visually memorable and affectively empathetic. The constant search for new context-specific formats and genre-crossing forms of expression is central to this. Peter is constantly experimenting with new context-specific modes and genre-crossing formats of contemporary performance that defy categories, borders and nations while investigating urban cycles of ruination and detritus, forms of violence, oppression and resistance, post-humanism and global interconnection.
In 2017 he adapted Elfriede Jelinek's BAMBILAND as a one-woman performance at the James Arnott Theatre in Glasgow, and in 2018 he staged Gerhild Steinbuch's HERR MIT SONNENBRILLE at Theater diemonopol in Innsbruck, where he also redeveloped his solo choreography TIME DUST from the ruins of Mostar for its Austrian premiere. The world premiere of Christian Spitzenstaetter's opera STILLHANG in 2018 at the Tiroler Festspiele Erl, in his set and collaborative direction, received the Austrian Music Theatre Award for Best World Premiere and was revived at the Theater Brandenburg an der Havel in 2023 for its German premiere in his direction and set.
For UNSICHTBARE STÄDTE INNSBRUCK (2020), he built an interactive performance machine as part of the Magic Carpets EU project and stadtpotenziale_innsbruck, which he delivered to the audience's homes in a pizza box. The project was exhibited as part of the Magic Carpets Landed exhibition for the opening of Kaunas European Capital of Culture 2022. The machine was further developed into an open-source toolkit together with Johannes Bereiter-Payr 2021-2022 during a fellowship at the Academy for Theatre and Digitality in Dortmund. In 2022, the project was revived site-specifically as UNSICHTBARE STÄDTE KOTTBUSSER TOR with Vierte Welt in Berlin.
His experimental sound theatre HOW DEEP IS THE SEA was realised in 2021 in the form of deckchair radio play stations at six locations in Innsbruck. In 2021 he also directed Neil LaBute's FETTES SCHWEIN in the Großer Rathaussaal in Telfs at the Tiroler Volksschauspielen and realised NO MONUMENT TO NO NATION, an interactive intervention in public space at the 10th Street Arts Festival in Mostar 2021 with the support of the Austrian Cultural Forum Sarajevo and the University of Applied Arts in Vienna. In 2022 he staged the world premiere of Gerhild Steinbuch's GUTE GESTÄNDNISSE BESSER MENSCHEN at the Tiroler Landestheater Innsbruck. In the same year he also brought his experimental musical MORAG YOU'RE A LONG TIME DEID, co-written and self-produced with Claire Love Wilson, to its world premiere in collaboration with Touchstone Theatre and the frank theatre in Vancouver.
On the side, Peter Lorenz is active as a workshop leader and mentor: in 2021 he taught a three-day workshop on ‘Technodramaturgy and Interactive Props’ as part of the PlayON! EU project for Pilot Theatre (York) and Theatret Vårt (Molde) at NTNU University in Ålesund and acts as a mentor for the LLAMADA ENTRANTE production in Uruguay as part of the Goethe Institute's Ae+d project. As a playwright, he received the Austrian Literature Scholarship in 2022 and was invited to the Mentoring Programme of UniT / Retzhofer Dramapreis and the Dramatiker*innen Festival in Graz in 2023.