大卫 •布什（David Bösch）
大卫 •布什1978年生于北莱茵 - 威斯特法伦州的吕贝克县。2000年至2004年，他在苏黎世音乐戏剧学院学习导演，并执导了魏德金的《春天的苏醒》，根据毕希纳作品改编的《莱昂斯和莱娜——更美好的一天》。2003年他以一部《Jessica Goldberg的避难所》在柯尔柏青年导演大赛中获得了一等奖。
2004年，作为萨尔斯堡艺术节的青年导演项目，他和塔利亚剧团（塔利亚剧院）合作，导演了西门·史蒂芬斯的《港口》（Port）。他还在波鸿剧院导演《罗密欧与朱丽叶》，在伯尔尼剧院导演弗朗兹·克萨韦尔·克罗茨的《催促》，在高斯大街的塔利亚剧院演出乔治·塔伯里的《我的挣扎》，在苏黎世剧院(Schiffbauhalle)排演马里沃的《争论》和莎士比亚的《无事生非》——这又是一次和塔利亚剧院合作参加萨尔斯堡艺术节的项目——在这次艺术节上他荣获了2006青年导演新锐奖。
自2005-2006年戏剧季起，大卫在艺术总监Anselm Weber旗下担任埃森剧院常驻导演。2005年，在埃森Weber的第一个演出季，他导演了一部公演剧目莎士比亚的《仲夏夜之梦》，该剧引起了强烈的反响。接下来又导演了维尔纳·施瓦布的《人为破坏或我的肝是没有意义的》，2006年克莱斯特的《海尔布隆的凯蒂》（烈火的考验），2007年莫尔纳的《利里奥姆》（Liliom）毕希纳《沃伊采克》（Woyzeck），以及2008年索福克勒斯的《安提戈涅》。
显然，德语戏剧界需要大卫·布什这样的导演。对于这样一位年轻导演流星般绚烂的生涯我们还需要其他解释吗？不到30岁，布什就已经用他的作品为自己树立了名声，他的作品即确立了他的成功又为他在埃森和苏黎世赢得了观众的广泛认可。这可能是因为布什，是一个充满激情的电影迷，和一个抽象的戏剧放在首要地位的人，他依靠的是效果和热情，而不仅仅是像当代德语戏剧界的其他导演那样——总是强调这样的座右铭：“我们不应该离开激情而改去电影院！”布什不是一个知识型的、观念型的，被理论所耗竭的导演。他对待戏剧的方式是感性的，调皮的和直接的。具有着巨大的、充沛的导演想象力天赋的他，知道如何用智慧、魅力和风格去点燃观众观剧的热情，尤其当在排演经典作品的时候。他力图在做到这一点的同时，也不会吓跑购票来看戏的观众们。
尽管大卫在各方面都展现出一个新锐导演的胆识，但他从根本上来说还是一个传统的导演，将戏剧回归讲故事的艺术，为此，他无惧痛苦与同情。事实上，当谈论到谁是他的榜样的时候，他总是提到诸如Luc Bondy和George Tabori，因为他十分赞赏他们作品中的“犹太性”，幽默感和他们的人文关怀。当然，他更多地是从其他导演这里学习而不是要超越他们。布什是不是一个戏剧界的叛逆者，也不是狂暴的战士。他想要走的是一条属于他自己的穿过戏剧风景的道路，我们能十分肯定的是他所选择的道路不会总是安稳的。
David Bösch
David Bösch was born in 1978 in Lübbecke, North Rhine-Westphalia. From 2000 to 2004, he studied directing at the College of Music and Theatre in Zurich, where the works he directed included Frühlingserwachen (Spring Awakening) by Wedekind and Leonce und Lena – a better day (Leonce and Lena – a better day) based on the play by Georg Büchner. He was awarded the First Prize in the 2003 Körber Young Directors Studio competition for his interpretation of Jessica Goldberg’s Fluchtpunkt (Refuge) .
In 2004, he directed Port by Simon Stephens as part of the Young Directors Project at the Salzburg Festival, a coproduction with the Thalia Theater Hamburg. He went on to direct Romeo and Juliet at the Schauspielhaus Bochum, Der Drang (Urge) by Franz Xaver Kroetz at the Theater Bern, George Tabori’s Mein Kampf (My Struggle) at the Thalia in der Gaußstraße, The Dispute by Marivaux at the Schauspielhaus Zurich (Schiffbauhalle) and Shakespeare’s Much Ado about Nothing – another coproduction between the Thalia Theater Hamburg and the Salzburg Festival –, for which he won the 2006 Young Directors Award.
Since the 2005/06 season, David Bösch has been director in residence at the Schauspiel Essen under its artistic director Anselm Weber. In 2005, he directed the opening play of Weber’s first season in Essen, A Midsummer Night’s Dream by William Shakespeare, which became a big hit with the public. This has been followed by Werner Schwab’s Volksvernichtung oder Meine Leber ist sinnlos (People Annihilation or My Liver is Senseless) and Kleist’s Das Käthchen von Heilbronn (Ordeal by Fire) in 2006, Molnár’s Liliom and Büchner’s Woyzeck in 2007, and Sophocles’s Antigone in 2008.
There has obviously been a need for some one like David Bösch in the German theatre world. How else is this young director's meteoric career to be explained? Not yet 30 years old, Bösch has established a name for himself with productions that have made him both a ratings success and a favourite with audiences in Essen just as much as in Hamburg or Zurich. This is presumably because Bösch, a passionate film fan and believer in the primacy of play over abstraction, relies on effects and emotions more than just about any other director in contemporary German-language theatre - very much living up to his oft-repeated motto: "We should not leave emotionality to the cinema!" Bösch is anything but an intellectual, conceptual director burdened down by theory.His approach to plays is sensuous, playful and direct. Gifted with an enormous, often exuberant directorial imagination, he knows how to enthuse a young audience for the theatre with wit, charm and style, especially when presenting classic material, and manages to do this without scaring off the season ticket holders.
Despite all the directorial courage he displays, David Bösch is a fundamentally old-fashioned director who has returned to the art of storytelling, in doing which he has been afraid of neither pathos nor empathy. In fact, when talking about his models, he mentions old masters such as Luc Bondy and George Tabori because he prizes the "Jewishness" of their work, their humour and their humanity. Certainly, he wants to learn from older directors rather than usurp them. Bösch is not a theatrical rebel, nor is he someone with a tendency to go berserk. He will navigate his own way through the theatrical landscape, and we can be quite sure the paths he takes will not always be the safe ones.
