Glaube Liebe Hoffnung

This Elisabeth is actually a predecessor of Erin Brockovich: a young woman who's rooted and unwavering in her grasp of independence and who's trying to find a job by all means necessary. That's why she's standing in front of the Anatomical Institute to sell the rights to her organs – while she's still alive –  so she can pay for her business license to sell undergarments. But her social circumstances lace her up more tightly than any corset would: resentment and a society in a merciless struggle for existence weave the increasingly desperate Elisabeth into a precarious web of white lies and hypocrisy.

It'll be a parade in the rain / Where the saw cuts through the dead / The world is a clueless refrain / Everyone is shaped by need and dread, sings renowned post-Klezmer punk musician Daniel Kahn in a song he wrote for Hakan Savaş Mican's production. After Kleiner Mann, was nun? (Little Man – What Now?), Mican has taken on a social drama again, which outlines the downward social mobility of normal employees at the beginning of the thirties with clairvoyant urgency. Brave and desperate, they struggle for a decent life and some love, even as the place of their dreams moves ever further away: In the Mountains of Tibet / How much prettier could it get / Where no skeleton's cut up at the end / And there's no corsets to vend / In the Mountains of Tibet.

Watch the trailer

Photo: Esra Rotthoff

Stage Photos: Ute Langkafel


With English surtitles

With English surtitles


With English surtitles

With English surtitles


Stage design


Music and Sounddesign

Stage lighting


stagemusic and Songs


Emre Aksızoğlu

Lea Draeger

Daniel Kahn

Orit Nahmias


Sesede Terziyan