20:00 Schauspielhaus
lecture | lesungen | gespräche | perfomances | sound
zwei festivalabende am 30. sept. und 1. okt. 2022
eine kooperation von schule für dichtung und schauspielhaus wien


Kaspar Hauser oder die Ausgestoßenen könnten jeden Augenblick angreifen!

by Lisa Lie

Directed by Lisa Lie
Artistic collaboration Julian Blaue
Stage & costume design Maja Nilsen
Dramaturgy Tobias Schuster

Premiere February 1, 2017
„Mystery of his time/His birth unknown/His death mysterious“, one reads on Kaspar Hauser’s tombstone. Kaspar has been fascinating, provoking and unsettling for almost 200 years. His true origin is disputed till this day, his biography made him a modern myth and since 1830 has been a projection surface for many writers and artists from Jakob Wassermann to Werner Herzog and Peter Handke to think about social conformity and difference.
Child star or freak, impostor or forcefully removed prince, martyr or monster – who is the uninvited guest who appears out of nowhere in Nürnberg on May 26, 1828? Suddenly he stands all lost in the middle of town, 16 years old, can hardly make himself understood, he only produces one slurred sentence: „I want to become such a man as another one once was.“ Initially fascinated, a teacher takes him in and teaches him how to write. Subsequently Kaspar begins to write his biography: He claims that he was locked away a few days after having been born. He grew up in total isolation without ever seeing other humans. Without learning language from others, getting to know their customs, without having been integrated into society through education from childhood.
For a short time Kaspar is a colourful star. He is touting for the attention of his environment  with drastic means. After a short phase when a true Kaspar-Hauser-tourism begins in Franconia and the media report intensely on the spectacular case, the tide is turning in consequence of this. When the mysterious fascination has lost the attraction of the spectacularly new, it becomes an annoying imposition because he unmasks all social convention as totally unnatural construction. Kaspar forces his environment to come to an understanding about their own values and ways of functioning. The increasingly unloved has got nothing to lose.
A year after he appeared, the foundling is supposed to be removed by force. A first attempt of murder fails, but the discussion about the true origin of Kaspar Hauser is picking up pace. Those who think he is a fraud consider him a tramp who is attracted by the comfortable life under the protection of Nuremberg society. Others assume a conspiracy in the fight for the line of succession to the Baden throne that made it necessary for Kaspar to dissappear to make way in the hierarchy. In December 1833 Kaspar is eventually stabbed to death. He shall finally disappear underground again!
Besides from Werner Herzog’s famous film, Peter Handke’s early play „Kaspar“ from 1967 is the best known literary adaptation. He focusses on the process of language acquisition and shows how language conditions our thoughts in a way that Kaspar can be bent for society and a conventional life by a „speaking torture“, as Handke calls his play. Considering the beginning accounting of the NS-time when conformity and compliance led Germany into the inferno of a world war, Handke also deals with structural violence that is inherent in every process of socialisation. In so far the fascinating core of the myth is the consistent provocation that is created when a majority society is forced by an actually unwanted individual or a group to rethink their conventions. That is why in a time like ours when social as well as individual identities are as fluid as never before, it pays off especially to think about Kaspar.
Lisa Lie, a well-known Norwegian director and author, will present her first work in German language theatre with this production. She will make a free, associative adaptation that will confront the myth of Kaspar Hauser with political and social questions of our present time. She will also tell the story of an outcast from our society whose integration and particpation would change the social regulatory system. This way they become a danger for the privileges of the majority society.
Lisa Lie, originally an actress and performer, has been working as director as well as author of novels and poetry since 2003.  From 2014-2016 she was author in residence at the Norwegian Centre for New Playwriting. Together with the Swedish artist and performer Stina Kajaso she founded the award-winning and internationally renowned duo „Sons of Liberty“ that strongly influenced the Norwegian performance scene until 2009. In 2004 Lie founded the artistic platform „Pony of No return“ (PONR) which she is running till this day and in this context whe created productions like „Armless strikes back“ (2004), „Woodland Games“ (2007/2014), „Blue Motell“ (2013) and „I Cloni“ (2016).


Cast: Kenneth Homstad, Jesse Inman, Vassilissa Reznikoff, Gabriel Zschache
Author: Lisa Lie
Directed by: Lisa Lie
Stage & Costumes:
Light: Oliver Mathias Kratochwill
Dramaturgy: Tobias Schuster
Artistic Cooperation: Julian Blaue
Regieassistenz: Gabriel Zschache


„Das Wiener Schauspielhaus pulsiert. Hier ist eine junge Generation von Theatermachern am Werk, die ganz eigene, rohe, popaffine Regiepositionen in die Waagschale wirft. (…) Der knapp zweistündige Abend ist wie eine Zwiebel, die immer wieder neue Zivilisationsschichten freilegt. (…) Vassilissa Reznikoff, Jesse Inman, Gabriel Zschache und Kenneth Homstad werfen sich als tanzende, turnende, gestikulierende und zuweilen radebrechend sprechende Schauspieler ins Zeug. In diesen steilen Behauptungen liegt deshalb viel Spannung, weil die märchenhaften Bilder ihre Bedeutungen nicht sofort preisgeben. Man rätselt und staunt.“ Der Standard
„Es ist ein starkes Stück Text, mit dem Lisa Lie in ihre fast zweistündige Inszenierung einführt. (…) In dichten, poetischen Bildern zeichnet die Autorin ein Bild zwischen befürchteter Gluckenhaftigkeit und eingetretener Ablehnung.APA

„„Kaspar Hauser oder die Ausgestoßenen könnten jeden Augenblick angreifen“ ist ein Parforceritt durch die Menschheitsgeschichte, betrieben mit enormem Aufwand.“ Wiener Zeitung

„Visuell eindrucksvolle performative Sequenzen changieren zwischen Fremd- und Selbstverortung, Unterdrückung und Unterwerfung, Bewusstsein und Unterbewusstsein, Gewalt und Liebesdrang. (…) Licht-, Kostüm- und Bühnenbild schaffen eindrucksvolle Räume, die in Erinnerung bleiben.“ callisti1010

„Zeitreise im Stroboskopgewitter“ Kurier

„Lisa Lies „Kaspar Hauser“ feiert den Sieg des Unkonventionellen über die Konvention und die Konformität. Was das betrifft, ist das Schauspielhaus Wien ohnedies the place to be. Mottingers Meinung

"Furcht vor der grandiosen Schauspielerin Vassilissa Reznikoff, die den Abend vorantreibt, wie eine machttrunkene Diva." Falter

„Ein fulminant spielendes Ensemble: Kenneth Homstad, Jesse Inman, Gabriel Zschache und Vassilissa Reznikoff, wobei Letztgenannte mit ihrem Eingangsmonolog eine schauspielerische Höchstleistung hinlegt. European Cultural News