Caroline Welzl - director

Caroline Welzl is a European artist. Born in Vienna, she has been performing, directing and producing original theatre in Austria, Germany, the Czech Republic and the UK since 2001. She founded a theatre company, Spielhalde, which has put on critically acclaimed shows at the Edinburgh and Prague fringe festivals, and has worked in Scotland (Vanishing Point and Fablevision) and the Burgtheater in Vienna. She did a BA in Contemporary Performance Practice at the Royal Scottish Academy of Music and Drama, now the Royal Conservatoire of Scotland, graduating in 2008.

Her career includes three years as an assistant director at the Burgtheater, two years at the Landestheater Niederösterreich.
Her directing credits include “The sorrows of young Werther” and the world premieres of “Die gesetzlich Verordnung zur veredelung des Diesseits” and “Wo verdammt ist Frau Wermes” at the Burgtheater.
In 2016 she's directing “Am Beispiel der Butter” at the Phönix Theatre in Linz, Austria.

Review Fringe festival Edinburgh:
“The sorrows of young Werther”
"Goethe’s best-known novel,The Sorrows of Young Werther, finds elegantly concentrated expression in this short one-man performance. The production makes an immensely influential work accessible, and Pascal Groß is riveting as Werthers. (…) It’s curiously appropriate in a play witnessed from across a linguistic divide — an experience with an almost anthropological flavour. (...)Yet seeing a performance in another language is surprisingly engaging. I found myself unusually attentive to gestures and expressions, to modulations of the voice." Broadway baby

“Rathunt”
“Performed in the original Viennese (..), this hardly affected my deep enjoyment; the physical nature of this piece transcends the boundaries of language with powerful performances from two utterly absorbing actors. (..) Interspersed with brilliantly clever and wonderfully mood-setting video-theatre, this perfomance is visually, and emotionally satisfying in every way. Compelling and thought-provoking, your eyes won`t leave the stage for minute. To see something totally different that is both brilliant and intelligent in its nature is a rare thing, but made accessible with this impressive piece.” Three week in Edinburgh 

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