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Johann Wolfgang von Goethe Faust I + II

New production

Coproduction with the Thalia Theater Hamburg

Marathon performance Faust I + II
End of performance approx. 1:20 a.m.


  • 28 July 2011, 17:00


  • 30 July 2011, 17:00
  • 06 August 2011, 17:00
  • 07 August 2011, 17:00
  • 14 August 2011, 17:00
  • 15 August 2011, 17:00
  • 20 August 2011, 17:00
  • 21 August 2011, 17:00

Print programme (PDF)


Nicolas Stemann, Stage Director
Thomas Dreißigacker, Nicolas Stemann, Set Design
Marysol del Castillo, Costume Design
Thomas Kürstner, Sebastian Vogel, Music
Claudia Lehmann, Video
Eike Zuleeg, Videoassistant, Live-Camera
Paulus Vogt, Light
Das Helmi (Florian Loycke, Felix Loycke and others), Puppets
Franz Rogowski, Choreography
Sven Kaiser, Burkhard Niggemeier, Répétiteur, Arrangement
Benjamin von Blomberg, Dramaturgy


Philipp Hochmair, Barbara Nüsse, Josef Ostendorf, Sebastian Rudolph, Birte Schnöink, Patrycia Ziolkowska, Performer
Friederike Harmsen, Voice
Franz Rogowski, Dance
Felix Loycke, Florian Loycke, Puppet Play
Thomas Kürstner, Burkhard Niggemeier, Sebastian Vogel, Music

with the participation of a member of the Vienna Boys' Choir.

Complementary programme: Auf eigene Faust



In the end, nothing will have been won. No existential certainty, no world. Even if the earth allowed itself to be colonized – one day, nature will get back what the diabolic Faust took from it by force, and man will realize that what promised liberty actually resulted in destruction. The end of Faust II in this world could not be more apocalyptic: the swansong of love is followed by the swansong of the vision of the creative human being and the project of (capitalist) modernism. And really: what are three corpses and one mistress gone mad, taken as the tragic bottom-line of the story of a scientist who suffers from the imponderability of life, but who has been elevated through a pact with the devil to see eye to eye with his own fantasies of omnipotence, against the great, fully rationalized thronging world which the “god on crutches” Faust finally leaves behind? It is disturbing that Faust seems to us a reflection of our own kind today. Goethe speaks of our world and its becoming: using an exemplary figure, he shows the mental and spiritual roots of a society made up of radical individualists who are incapable of forming a community of ideals and creating collective meaning. Free yourself from all the outward whisperings that restrain your ego, Mephisto calls out to this Faust, and means the doubting, scrupulous pensive voices of the past and of ideals. The devil’s song goes thus: be your own measure! We have an inkling how much this song resembles that of the impotence of the human being reduced to his own means, of his inability to love, his restlessness, his depression even. We, who are unfortunately perhaps Goethe’s ideal readers. In our family records, his ideas sparkle brightly.

Benjamin von Blomberg