Es lebe Europa, Die Puppe und die Dauerwurst, Das Donnerwetter, Die Urgroßmutter, Der Schornsteinfeger, Der Herr vom Jenseits, Der Direktor, Das Mirakel, Das Dumme Luder und Fax.
Social stagnation and a lack of opportunities for development and advancement, coupled with rapid technical and economic development, uncompromisingly posed the question of the future. In the short dramas of his "Revolutionary Theater Library," the writer Paul Scheerbart already sketched the mood of the Germans between 1900 and 1910 in brief snapshots at the beginning of the 20th century. He dreamed of a theater "capable of exuding a revolutionary force in a more radical sense" in order to initiate the revolution of life and world views. His characters confuse and transform the German bourgeois with their grotesque fantasies, his style is often striking, garish and the characters sometimes enervating and of manic energy.
The now almost forgotten man of letters is considered one of the forefathers of German modernism and a pioneer of the Theatre of the Absurd. Each of the selected texts dramatizes a short story, the overarching theme of which is personal failure in the face of social conditions. The consequence of this failure is in each case the social death of the main character. The basic idea of the production is therefore the subject of the dance of death. The dead have to return to the place of their failure and reenact the scene of their death.
With: Johanna Paliege, Saskia von Winterfeld, Peter Beck, Uwe Neumann
Director: Jens Schmidl / Set Designer: Thomas Lorenz-Herting / Music: Bernd Medek
Supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media.