Augenblick mal! 2005

Freitag, 29. April 2005 | carrousel Theater - Turnhalle

ciacconna clox, Leipzig
Die zertanzten Schuhe
von Helene Krumbügel
nach den Gebrüdern Grimm
Rechte bei der Compagnie
ab 5 Jahren | 60 Minuten

Director: Helene Krumbügel, Ulrike Lykke Langer, Conny Wolter
Director: Conny Wolter (Kinderensemble)
Stage and Costume Design: Susanne Meier, Tim Steinbeiß
Choreography: Helene Krumbügel
Dramaturgy: Ulrike Lykke Langer
Actor(s): Konstanze Büschel (Prinzessin/Tanz), Stefan Ebeling (König Cäcilius der Dritte), Ulrike Schauer (Prinzessin/Tanz), Karen Schönemann (Prinzessin/Tanz), Erzähler: Constanze Pabst, Holdine Wolter, Frowin Wolter (Kindersprechensemble des MDR)


"H-H-Holes in your shoes?", asks King Cäcilius every morning, without getting an answer from his three sleeping daughters. "I have had enough of this holey madness! Holes in the State budget, new shoes again! That's enough!" The king is exhausted from


"I notice that the perfect fusion of all artistic disciplines, the joining of poetry and music through song, of poetry and art through dance, are in themselves the synthesis of the theatrical event."
Schelling: The Philosophy of Art

This production is based on the Grimm Brothers' fairytale 'The Danced Out Shoes'. It is the story of three princesses who night after night escape their locked bed chamber to an underground castle where they dance in the most beautiful gowns with the most handsome princes until they have worn through the soles of their shoes. The king doesn't approve of his daughters' behaviour at all. Whoever can figure out how these h-h-holes came to be in his daughters' shoes would be given the choice of a princess for a wife and half the kingdom to boot. The company ciaconna clox's goal is to use "dance as a means of facilitating communication between generations." All of their productions bring diverse artists and artistic forms together. 'The Danced Out Shoes' is an interdisciplinary project combining contemporary dance, theatre and storytelling.

The production is performed by three adult dancers and one actor, as well as children from the mdr broadcast children speaker's ensemble in Halle. Using a variety of performance forms, they are able to play with complex possibilities and diverse storytelling. While the three dancers play the princesses, the children take on their dialogue, providing their voices – sometimes live and sometimes prerecorded. At the same time, the children act as narrators or simply follow the story from the side of the stage. Having the adult women play the role of the children while the children are the ones to narrate and advance the story is a new experience from conventional theatre, where the opposite tends to be the case. The children are treated as competent, equal performers. At the same time the children share the commonality of age with the audience as they observe on the edge of the stage between scenes. Does this switch of roles have an effect on the audience's reception?

Geesche Wartemann

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