Sehr schön und sehr tot
Sehr schön und sehr tot

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More detailsWhat do Ophelia, Lady Macbeth, Carmen, and Fräulein Else have in common? In the end, they’re all dead. A dead woman* at the beginning never hurts either (Twin Peaks, True Detective, Tatort)—hell, even a case of apparent death works (Sleeping Beauty, Snow White). The corpse just has to be “beautiful,” because for women* who don’t fit the standard of beauty, the stories we watch, listen to, read, and tell offer hardly any roles other than the evil stepmother anyway. The fascination with female* death remains a cultural constant, defended and reproduced time and again. …
Stories shape our imagination and, by extension, our actions in the world. When asked for a study what they would do if they lived in a world without the opposite sex for 24 hours, men* responded with things like “nothing” or “go out for drinks with my single friends.” Women*, on the other hand: “take a walk in the park at night,” “go out partying without being groped.” One in three women* has experienced violence at least once in her life. But we don’t want to let anyone take away the dead woman* on TV night.
So what could be more welcome than the ghosts of four very famous, very beautiful, and above all very dead women* who can also sing? Rebekka David and her team invite you to a musical séance. Bring your husband along (or, if you can’t, just any man you can get your hands on).
The theater production was originally developed at the Staatstheater Braunschweig by Rebekka David, in collaboration with Gina Henkel, Camill Jammal, Amy Lombardi, and Valentin Fruntke.