Andreas Merz-Raykov studied dramaturgy at Bavarian Theatre Academy and Ludwig Maximilians University in Munich, Germany, and theatre directing at University Mozarteum Salzburg, Austria. After the graduation he worked at Bayerisches Staatsschauspiel in Munich until in 2008 he moved to Berlin, where he worked together with Frank Castorf at Volksbühne am Rosa-Luxemburg-Platz and staged there several productions of his own.

2012-2013 Andreas was closely collaborating with Heimathafen Neukölln, Berlin, a theatre which focuses on the complex history and development of its city-borough, regarded as one of Germany’s most troubled districts. Here he staged his own adaptation of Franz Kafka’s Metamorphosis in 2013.

In 2012 upon the recommendation of Frank Castorf Andreas was granted the scholarship of the German Academy of Arts with a residence in Villa Serpentara, Olevano Romano, Rome, Italy.

In 2013 Saratov Academic Kiselev TUZ theatre invited Andreas to stage Bertolt Brecht's Saint Joan of the Stockyards in the framework of the German cultural year in Russia. Since then Andreas, in collaboration with his wife, theater translator Ekaterina Raykova-Merz, is working with different theaters in Russia.

Andreas' staging of Brecht's He Who Says Yes, He Who Says No (Stage-Molot, Perm) was nominated as the "Best small scale production" for the Russian national theater award Golden Mask 2015 - as well as Andreas himself as the "Best Director".

In 2016 the experts of the Golden Mask nominated the Andreas' staging of Streetcar Named Desire (Serov) as the "Best large scale production", and also Andreas as the "Best Director".

When working on a project Andreas is particularly concerned with local cultural and social circumstances, in actors’ personal history and in discovering an actual meaning a text gains in a given context. His goal is to work with personal qualities of actors and make them visible on stage, developing profound interconnections between the actor and the role. Andreas perceives a theatre text not only as a form, which has to be refilled, - for him it is first and foremost the rule of the game and the groundwork for a socio-political dialogue with the ensemble.