Director, Costume Designer, and Visionary Ersan Mondtag in conversation about early success, self-doubt, and why his Stage Designs sometimes look like a Walk-In K-Hole.
With his unique works, which often seem like intoxicating parallel worlds, he has experienced a rapid and astonishing career. After dropping out of his studies, and following engagements at the Regiestudio am Schauspiel Frankfurt, Ersan Mondtag was invited to the Theatertreffen with his very first production. Every year, the most outstanding productions in the German-speaking areas are selected for this prestigious event. And with his first work as a visual artist, a performative, walkable installation, he was part of the German pavilion at the Venice Biennale in 2024. “In recent years, I’ve found my place in the theatre and opera scene and feel that I no longer have to constantly prove that I belong. Of course there are still negative reviews, but I think this turbulent up-and-down phase with regard to criticism is over. That’s a good thing, because it can be unsettling when you’re young. By that I mean being applauded as passionately as I am booed.”
The Kreuzberg native has experienced a real hype around his person in recent years.
JULIKA REESE You once said, “I really wanted to get into the madness of the theatre industry.” What fascinates you about this world?
ERSAN MONDTAG I think you need not only talent but, above all, the right mindset to survive there. At the beginning of my career, I entered the theatre with a sense of certainty, with the attitude: This is my place, and I’m going to claim it now – and that’s how I behaved. With this almost youthful arrogance, you naturally cause an earth-quake and eventually have to pick up the pieces. Now, I’ve become almost conventional in how I deal with people and can navigate the industry. For me, theatre can be a kind of societal utopia and it reflects my own madness.
JR You became successful at a very young age and were described as a rising star in directing. Did this early recognition also involve a certain risk? Many would probably have become megalomaniacs.
EM After I was invited to Theatertreffen with my first production, I suddenly found myself in the spotlight without being prepared for it. In interviews, I complained quite openly about the structures in theatre – after which many peo ple called me arrogant. I was even booed on stage. But I was also eager to provoke. The main thing is that people don’t forget you. That put a lot of pressure on me to prove myself to everyone through my art. You then look for some relief, and drugs quickly come into play. My early professional years were schizophrenic: on the one hand, hubris; on the other, self-doubt. The curtain went up, people applauded, but behind the scenes everyone hated you because you were so moody and yelled at everyone during rehearsals. At some point, I realised I had to reflect on why I was behaving like that. For me, it was definitely tied to the pressure and rapid success.
JR Your stage designs are spaces rich in powerful sound and visuals. What inspires you?
EM My dream worlds. I’ve been dreaming almost every night since I was a child, mostly nightmares. But I love my nightmares. I find portraying reality boring. That’s why I try to translate the emotional states I feel in my dreams onto the stage. That often helps me find colours, shapes, tempo, and atmosphere. I also find ketamine inspiring for my creative process because it catapults you into a different kind of dream state. With my productions, I actually want to create the feeling of a walk-in K-hole. Of course I’m asking a lot of the audience, but I want them to immerse themselves in a world of their own and a particular state. No one should fall asleep in my plays out of boredom.
JR You work with some of the most important cul- tural institutions, which means you travel a lot. How do you deal with these constantly changing workplaces?
EM I travel all over Europe with my artistic team to stage productions at foreign theatres and opera houses. Often, fitting into these structures works smoothly, but sometimes I arrive at a new venue and realise: this is hostile territory. But I never want to compromise my work, so I come up with a battle plan. I also have no problem arguing to get my ideas realised.
JR As a director, you constantly have to prove yourself with every production – on the one hand always offering something unexpected, and on the other creating something recognisable. How do you deal with this pressure?
EM At this point, I can create a dark, epic stage image within minutes because I know how to work with sound, light, and bodies in space. I’ve found my methodology, but it took a lot of effort. I want to keep refining my aesthetic in the coming years because it’s not yet fully refined, but I no longer have to start from scratch. If you change your visual language every few years, it doesn’t deepen, and you don’t develop your own signature style. To achieve that, you need courage and patience. I’m pretty good at delegating. I work an insane amount, but I’m actually lazy. No one looking at my overloaded schedule would think so, but I pass a lot of responsibility to my creative partners. Of course, that only works if you work with the best.
JR What are the best moments for you when directing?
EM When I’m so moved that I have to cry. I love it when rehearsals shake me emotionally. Sometimes I look around at these beautiful stage spaces and feel very humble. But you can only stay in that mood for a short time, otherwise you become too awestruck.
All Photography by SPYROS RENNT