Dimiter Gotscheff ( Bulgarian Димитър Гочев / Dimitar Gotschew; born April 26, 1943 in Borissowgrad, Bulgaria, † October 20, 2013 in Berlin) was a Bulgarian theater director, who worked mainly in Germany.
Gotscheff - son of a Bulgarian veterinarian - came in 1962 with his father in the GDR and lived in Bad Freienwalde (Oder). After leaving school following his father's profession, he studied veterinary medicine at the Humboldt University in Berlin. 1964 Dimiter Gotscheff learned about the playwright Hartmut Lange in a Berlin restaurant Heiner Müller know. A little later Gotscheff changed his profession and studied theater. He was a student of Benno Besson and in 1968 was assistant director of Fritz Marquardt.
1979 Gotscheff returned back to Bulgaria and worked from then on in his homeland as a director. Caused a sensation in the Bulgarian premiere of Philoctetes by Heiner Müller in 1983 in Sofia. As the former director of the Cologne Theatre Klaus Pierwoß overtook him in 1985 for a guest presentation to Cologne, he remained after the success of the production of Heiner Müller quartet in the Federal Republic of Germany.
He then worked in Basel, Hanover, Dusseldorf, Bochum and Hamburg. Between 1995 and 2000, Dimiter Gotscheff Board member and resident director at the Schauspielhaus Bochum. Since 2000 he has worked as a freelance director in Berlin, Frankfurt and Vienna. He was elected Director of the Year for his production of Anton Chekhov's Ivanov of the theater journal Theater heute 2005. The show is a production of the Volksbühne am Rosa- Luxembourg - Platz in Berlin. For this production, he also received the 3sat theater award at the Berlin Theatre Meeting. Since 2005 he was engaged as permanent director at the Deutsches Theater Berlin. 2013 Gotscheff staged at Munich Residenz Theater, the piece of cement by Heiner Müller from the year 1973.
Dimiter Gotscheff was married to actress Almut Zilcher and got a son with her. After a short illness he died on October 20, 2013 in Berlin. He has been described as one of the most important German stage directors.
"In the body language of your performance [ ... ] I saw this translation of text in the theater, the transformation of the fable of the parking lot of the contradictions of ordeal for the parties involved, the resistance of the body against the rape by the constraint of ideas. "
"With the reduction to the essentials, the actor, he is very different from the wild - ironic poetry that is common in the theater today. His gaze on the man undresses him rather by the decoration. In our fashionable era, this attitude is perhaps the true avant-garde. "