The Devil with the Three Golden Hairs (after the fairytale by the Brothers Grimm)
The Devil with the Three Golden Hairs is a road movie. One chance encounter follows the next without overly complicated entanglements. Only in retrospect does the meaningfulness of the encounters and events become clear.
The boy with the charmed skin is good with words, a trickster who can talk his way out of even the most hopeless situation with the help of his unbeatable mouth. He acts as a narrative anchor for the audience and accompanies them through the imponderables of the descent into hell. He is thus some kind of Orpheus, protected by a semantic-musical bubble that helps to turn even the devil‘s hall of mirrors of silence to his favor. His adversaries are the deniers and obstructors: above the earth the king, below the earth the devil. The classical fairy tale is a journey full of trials. Every station is both an obstacle and an opportunity. In the end, everything ends where it began: in the parents' house, which only appears to be unchanged, because the whole world has turned around itself in the meantime.
Credits
Idea, realisation: Showcase Beat Le Mot / Text, Set design: Showcase Beat Le Mot / Performance: Lukas Hupfeld, Rosa Thormeyer, Martin Müller-Reisinger, Lisa Hridina, Sebastian Suba / Music: Albrecht Kunze / Choreography: Jochen Roller / Costume design: Clemens Leander / Analogue animation machines: Alexej Tchernyi / Dramaturgy: Tamina Theiß / Light: Joscha Eckert / Assistant: Johanna J. Thomas / Production management: Olaf Nachtwey
The Devil with the Three Golden Hairs is a production by Showcase Beat Le Mot with Theater Freiburg and Deutsches Theater Berlin, Kampnagel Hamburg and Forum Freies Theater (FFT) Düsseldorf. Funded by Hauptstadtkulturfonds and by Kulturbehörde Hamburg.
Reviews
„90 minutes of an exciting associative journey and playful, spontaneous happening all in one: there are magical moments, great images and a little slapstick, but above all the story seems to be unfolding before the audience's eyes right here and now.“
(Badische Zeitung, 05.03.2018, Marion Klötzer, „Großmutter und Bösewichte“ – translation SCBLM)
„The focus of the production is not on the spoken word, nor on role-playing. The narrative here is associative: When one performer moves on to the next stage of the story, this serves as an opportunity for the group to play with bodies, music – at times also roles in between. This creates wonderful images."
(rbb Kulturradio vom 17.11.2018, Barbara Behrendt – translation SCBLM)
