ABSTRACT
This chapter discusses the set for An Enemy of the People was therefore directly derived from author's previous experience with Measure for Measure, which was a necessary production in helping to bring the two major aesthetic threads in Thomas' work together, and also the two playwrights that have occupied him most over the past decade. It guesses Ostermeier often looks for a kind of plastic or narrative poetry, Ostermeier never interested in video as an effect. The chapter concerns of set design, and of building spaces: questions that occupy a lot are how one can add to the set, or reduce it, how to complete it or enter into an exchange and a dialogue with the space, and not just with the plot, the actors, or the director's concept. It believes that Ostermeier takes great pleasure in watching someone for whom Ostermeier has been able to create a space to gain a presence and make an entertaining entrance.
