Rina Bohland
Born in Vienna in the 70s, I took my first steps pretty much backstage. Between the stage, dressing room and dressing room floor at the “Theater an der Wien”, my father showed me everything I needed to know about behind the scenes en passant. Since then, I've been familiar with the pressure that both, the performers and the workers backstage, are exposed to - perhaps that's why I can still rely on my nerves in stressful situations.
So I certainly owe my hands-on-approach to all areas of life to the world of theater, because: “The Show Must Go On” or later also “we are live in three, two, one....”
My first job after graduating from high school made me leave Vienna and move to the Rhein Main Theater, where I was given my first responsibility in the artistic operations office for Andrew Lloyd Webber's “Sunset Boulevard” – and I had to walk through the forest to the train station every day, as the train only stopped right in front of the theater before and after the show.
A big thank you goes to Doris Fuhrmann, who gave me the confidence to take on this task and taught me everything I needed to know in the crazy and amazing art & media industry. She helped shape my professional life, and I remembered her well-meaning encouragement, which I try to pass on myself today when I meet young colleagues whose potential I can sometimes see more clearly than they themselves.
From the episode at the Rhein Main Theatre at the latest, it was clear to me: there is no way too far, no valley too deep, no mountain too high: my heart belongs to art, but there to the production, to support the artists, the creatives.
After the theater, television was more of an accidental love affair, but I have remained faithful to it, with interruptions, to this day: After my time as personal assistant and production assistant to Peter Weck in his Cinevista Film, I was tempted by the then newly founded first private broadcaster ATV in 1999 to be unit management and later production management for live shows and major broadcasts. Anyone who has ever been involved in the birth of a television station knows that, in addition to a high level of motivation, it takes nerves of steel.
But in between, I quickly completed my studies and graduated. As a production manager, I had the great pleasure and freedom to switch between film, theater, TV (ORF, ATV, Eurosport and later as a producer for all german-speaking channels), stage manager for concerts and theater (Dracula, Hollywood in Vienna, Two Steps from Hell, Hans Zimmer), castings, auditions and events.
More biographical information about me here: |rinabohland|
And about some nice cinematic things I've helped get off the ground here: |overview|
Skills:
Production management, auditions, castings, recording manager, dresser, business manager, sound assistant, score reader, head of media academy, event manager, stage manager
for
Theater an der Wien, Rhein Main Theater, Raimundtheater, Cinevista Filmproduktion, ATV, Eurosport, Doris Fuhrmann Management, ORF, Lifeball, Cosmos Factory, Festspiele Bad Hersfeld, Musiktheater Dänemark, Tomek Produktions
Productions
Elisabeth, Sunset Boulevard, Cenerentola, Jünger and Nabokov chase, God's secretary, Dracula, Tommy, West Side Story, Fatty George, Wildhorn & Friends, The little Matchgirl (& the Tiger Lillies), Die Weberischen and many more... Lifeball, Hollywood in Vienna, Two Steps from Hell, Hans Zimmer, A1 / Life Ball / Puma / Levis, Leonidas, commercials and films.
One thing I can say for sure: I have worked with the best colleagues in the world. Thank you.