A piece of the series ›The Case of Man‹
in cooperation with the course of studies ›Visual Theatre and Puppetry‹ of the HMDK Stuttgart
With ›Happy Ending‹ we conclude our series ›The Case of Man‹ and for this production we cooperate for the first time with the course of studies ›Visual Theatre and Puppetry‹ of the State University of Music and Performing Arts Stuttgart. The trilogy deals with the species human and its downfall. The three pieces ›Show down‹, ›Climax‹ and ›Happy Ending‹ deal with three major themes in the history of humankind. Themes of human history: evolution, the anthropocene and post-extinction. In trying to understand humans, they illuminate our species and caricature our existence. The Anthropocene, a supposedly short period in the earth’s existence, is understood as failure. With an ensemble of dancers, musicians and students from the course of studies ›Visual Theatre and Puppetry‹, ›Happy Ending‹ brings together the remnants of this age. Not without self-mockery, the remnants of humanity and its decay are presented in a museum-like manner. Using the human body as material, they create a vision of the future and at the same time a memory.
Team backsteinhaus produktion: Ottavio Ferrante, Kevin Franc, Isabelle Gatterburg, Heiko Giering, Timo Kleinemeier, Nicki Liszta, Nina Malotta, Güldeste Mamac, Moritz Martin, Rebecca Moltenbrey, Tobias Tönjes, Anniek Vetter
Team of HMDK: Elena Sofie Böhler, Lara Epp, Eva-Maria Hasler, Thomas Kraft, Julika Mayer, Lotte Pazelt, Natasja Raböse, Stephanie Rinke, Emilien Truche
and the Team of Wilhelma Theater
»Director Nicki Liszta, artistic director of the dance company ›Backsteinhaus Produktion,‹ which is based at the Theater Rampe, stages the ›After the Downfall of Humanity‹ in about an hour full of turgid impressions. …
The young stage actors succeed in the contradictorily absurd play with strongly acted out, collective presence in performance, dance and music – sometimes withdrawn and as if dead, sometimes with exuberant vital energy. White plastic hair wigs, bones, packing materials, an impromptu doll that is embraced – even the materials support the apocalyptic stage action and animate the audience’s imagination. …
In addition to the direction and actors, the dazzlingly spherical music (Heiko Giering) as well as the stage design (Nina Malotta/Moritz Martin) and costumes (Rebecca Moltenbrey) contribute to the successful staging – especially since there is no concrete plot, no assignable characters.« Uta Reichard, Ludwigsburger Kreiszeitung, April 2/3, 2022
»As extinguished as the beings of this post-traumatic witching hour may seem: with their fading and glowing reserves of energy, they are often immensely touching. In particular, the duets of two dancers, whose hand-gestures mutate into a fight, and the industrial soundscape with shy dance music interludes, played live on the harmonium by Güldeste Mamac, cast a spell over you in their desperate poetry. …
And when two figures suddenly form a Pietà – then this Madonna with the large child on her padded mother’s breast carries at the same time the indestructible hope for a compassionate world on her lap.« Julia Lutzeyer, Stuttgarter Zeitung, April 2, 2022
A co-production of backsteinhaus produktion, Wilhelma Theater and the State University of Music and Performing Arts Stuttgart, sponsored by the City of Stuttgart and the Ministry of Science, Research and the Arts of the State of Baden-Württemberg. With the kind support of Theater Rampe.