Henning Streck

He began working as an illuminator at the Deutsche Staatsoper Berlin.

In 1998, he graduated from the Bayerische Theaterakademie August Everding in Munich, and the first experiments with the setting of light took place in the Orph-Theater Berlin, being his co-founder. He was the head of the light design department at the Staatsschauspiel Dresden (2000−2001), at the Berliner Volksbühne (2001−2005), at the Deutsche Theater Berlin (2007−2009).

As a lighting designer, he collaborated with the Salzburg Festival, the Sydney Festival, RUHRtriennale, the Vienna Festival, as well as the leading theaters in Berlin, Hamburg, Frankfurt am Main, Hannover and Zurich. The author of light scores for productions by such directors as Christoph Marthaler, Christoph Schlingensief, Frank Castorf, Christian Petzold, Dimitar Gochev, Anna Viebrock, Barrie Kosky, Michael Thalheimer and others. A close collaboration links Streck with the famous director David Marton, who works on the border of the musical and verbal theatre: Nackt, entblößt sogar (Naked, Even Bare, 2004), The Fairy Queen, oder hätte ich Glenn Gould nicht kennen gelernt (The Fairy Queen or had I not become acquainted with Glenn Gould; after Henry Purcell, 2005), Prokofiev’s The Fiery Angel (2006), Don Giovanni — keine Pause (Don Giovanni — No Rest (after Mozart, 2008), Doubles (after motives by Hoffmann, 2014). In the Opéra de Lyon, they co-produced operas: Richard Strauss» Capriccio (2013), Gluck’s Orpheus and Eurydice, and Berlioz’s La damnation de Faust (2015). Since 2014, he has taught light design at the Akademie der Bildenden Künste München. La bohème in Perm is the first collaboration with director Philipp Himmelmann and designer Raimund Bauer.