With the exhibition »The Story That Never Ends. The Collection of the ZKM«, the ZKM | Karlsruhe provides a comprehensive insight into its own collection, which, with around 12,000 works, is among the largest and most significant collections of media art in the world. The exhibition tells not only of the intertwined stories of art and technology but also of the challenges that fast-paced technological media bring to museums worldwide.

The history of media art from the 1950s to the present

Electrification and digitalization have changed the world. This transformation has not only affected our daily lives but has also impacted artistic creation. 

Since the beginning of the 20th century, artists have been using these rapidly evolving technologies and constantly expanding the expressive possibilities of art: The spectrum ranges from video, light, and sound works to motor-driven kinetic objects, as well as computer-based interactive installations or works created with the help of artificial intelligence. 

With about 100 works, »The Story That Never Ends« traces these developmental lines of the apparatus arts and their openness to the categories of space, time, and movement as well as interaction and participation – from the 1950s to the present. A selection of important key works that represent significant moments and milestones of media art illustrates the diversity and impact of these technological developments. Marie-Jo Lafontaine's monumental video sculpture »Les larmes d’acier« (1987), which ironizes the complex conceptual constellations of "man, machine, power, and sexuality," as well as Bill Viola's video-sound installation »Stations« (1994), which unites central aspects of his artistic work along with fundamental themes of human existence, or Jeffrey Shaw's »Virtual Sculpture« (1981), representing early experiments in augmented reality, form a small selection of examples here. 

At the same time, the exhibition also makes the socio-political context in which the works were created comprehensible, allowing for deductions and connections to the pressing questions of our time: Feminist works by earlier (media art) pioneers, such as pezoldo (aka Friederike Pezold), Lynn Hershman Leeson, Kirsten Geisler, or Rebecca Horn, are just as noteworthy as works reflecting the impacts of mass media like television (Nam June Paik, Wolf Vostell), the connection between technology and the military, borders and surveillance, or violence in the digital space (Paul Garrin, Hanna Haaslahti, David Rokeby) or natural ecosystems (Justine Emard, Claudia González Godoy). Artists repeatedly question the possibilities and effects of new media, rethink and redesign them, thus bringing forth new social and cultural narratives that shape the discourse about our relationship with technology. 

We perceive art, as the exhibition title suggests, as a story that will never end as long as there are people. The fact that we do not know what form it will take in the future is something it shares with technology. Our knowledge of the past and present influences how we shape the future and value what is yet to come.

The restoration of media art

„The Story That Never Ends“ not only refers to artistic development but also to the challenges museums face when collecting media artworks: Technical devices are not made for eternity, data carriers deteriorate, software standards become obsolete very quickly, and media formats are no longer readable after a few years. This means that works must continuously be monitored and technically updated by conservators. What impact does this have on art and our cultural memory? What skills do we need to develop to not only have a future but also a past?

The ZKM has an internationally recognized expertise in the conservation and restoration of media art. However, since these conservation and restoration activities mostly happen behind the scenes, »The Story That Never Ends« takes a radical step: The decision about which key works from the collection are shown in the exhibition has been entrusted to the conservators of the ZKM. In doing so, they bring hidden treasures to light that have, due to elaborate preservation measures, often not been publicly visible for decades. Since the works themselves do not necessarily reveal the complexity of their technology and the challenges of their preservation, the exhibition also provides an introduction to the history of technology and conservation strategies for this type of works.

The view from the past into the future

»The Story That Never Ends« thus not only tells the fascinating story of media art through the unique collection of the ZKM. It also highlights the fragility of our electrified and digitalized civilization. The exhibition allows for an in-depth insight into the art and technology history of the 20th and 21st centuries and shows how history sharpens the view of the present and stimulates the imagination of possible futures.

Wed to Fri: 10 am to 6 pm
Sat, Sun: 11 am to 6 pm

Once a month, Stefan 'Buchi' Buchholz & Claus Bubik invite exciting guests and create unique, untested, and spontaneous music together in the SANDKORN studio.

Guests on 11.02.: Sandie Wollasch & Matthias Hautsch!
Together, the duo presents voluminous songs from large formations on stage – and interprets them in surprisingly new ways with their minimalist instrumentation. Additionally, they bring musical gems of their own creation that make you sit up and take notice and break musical dimensions.

DAS SANDKORN presents at the Lukaskirche Karlsruhe

Die Monster-WG
by Bernd Kohlhepp
for children from 5 years (preschool and primary school)
Morning performances
For groups, please make a reservation by phone!

In a castle ruin lives the grumpy old Baron Bartimäus. Although he has been dead for a long time, his restless spirit inhabits his battered armor and haunts the crumbling walls.
In doing so, he encounters various night creatures, such as an owl, with whom he always has interesting conversations. Occasionally, he has to chase away some overly enthusiastic hiking groups that have made themselves comfortable in his castle ruin, or a couple that would like some privacy there... However, he prefers to be alone and doesn't want to know much about the world.
It could have gone on like this for several more centuries - but one day everything changes!
A jinx is sent to him by post. The cargo ship carrying him sank, and the postman had a bicycle accident. The jinx wants to stay in the castle ruin because nobody likes to have him around. Not only does he bring bad luck to himself, but also to everyone he comes into contact with. Bartimäus is not particularly pleased and tries to get rid of the bird as quickly as possible. But the bird cannot be shaken off. Where should he go?
Little by little, he now receives visits from other quirky beings who had to flee their homeland because monsters and half-beings are no longer welcome there. Two will-o'-the-wisps, a series of Celtic mining dwarves, a gnome with a speech impediment, a shy dragon, and a lout gradually make their appearance and cause chaos in the castle ruin.
But when investors want to renovate the ruin and hire the ghost hunter Wassili for the "cleaning," the Monster-WG must stick together...

This play addresses the difficulties of cohabitation. How one has to keep finding common ground and how tolerance and curiosity are prerequisites for sharing the world peacefully. Customary rights do not always apply, and neither does the law of the stronger. But when such an agreement is reached, a community can form where everyone can contribute their skills for the benefit of all.

Duration of the play: 60 min.

On stage: Bernd Kohlhepp / Oliver Fobe, Michelle Brubach, Véronique Weber
Direction: Bernd Kohlhepp, Susanne Wasmann

Der gestiefelte Kater

Fairy tale based on the Brothers Grimm by Jutta Braun-Wingert
Director: Larissa Kaufmann-Nicolaus

Ages 5 and up

Leo, the miller’s son, has just learned that his father has died and he will only inherit an old cat. Disappointed, he seeks out his favorite spot at the edge of the forest. Max, the cat, follows him everywhere. There they meet Luisa. She tells them that her father is the king of the land and decides over her life because he doesn’t believe she is wise enough to do it herself. He decides what she learns, whom she meets, where she goes… Only now and then can she manage to come here to the edge of the forest to be a little alone. Leo understands her situation and encourages her. “You can do more than you think. Believe in yourself.” Luisa, in turn, urges him to hope for the good even in bad times. “Whoever has a cat has no problem with mice! And maybe he can do more than just chase mice!” She is right about that! Because the cat surprises everyone: his master, the princess, the king, little partridges, the people, and in the end, the sorceress. And then everything turns out well!

Admission: One hour before the performance begins

With the exhibition »The Story That Never Ends. The Collection of the ZKM«, the ZKM | Karlsruhe provides a comprehensive insight into its own collection, which, with around 12,000 works, is among the largest and most significant collections of media art in the world. The exhibition tells not only of the intertwined stories of art and technology but also of the challenges that fast-paced technological media bring to museums worldwide.

The history of media art from the 1950s to the present

Electrification and digitalization have changed the world. This transformation has not only affected our daily lives but has also impacted artistic creation. 

Since the beginning of the 20th century, artists have been using these rapidly evolving technologies and constantly expanding the expressive possibilities of art: The spectrum ranges from video, light, and sound works to motor-driven kinetic objects, as well as computer-based interactive installations or works created with the help of artificial intelligence. 

With about 100 works, »The Story That Never Ends« traces these developmental lines of the apparatus arts and their openness to the categories of space, time, and movement as well as interaction and participation – from the 1950s to the present. A selection of important key works that represent significant moments and milestones of media art illustrates the diversity and impact of these technological developments. Marie-Jo Lafontaine's monumental video sculpture »Les larmes d’acier« (1987), which ironizes the complex conceptual constellations of "man, machine, power, and sexuality," as well as Bill Viola's video-sound installation »Stations« (1994), which unites central aspects of his artistic work along with fundamental themes of human existence, or Jeffrey Shaw's »Virtual Sculpture« (1981), representing early experiments in augmented reality, form a small selection of examples here. 

At the same time, the exhibition also makes the socio-political context in which the works were created comprehensible, allowing for deductions and connections to the pressing questions of our time: Feminist works by earlier (media art) pioneers, such as pezoldo (aka Friederike Pezold), Lynn Hershman Leeson, Kirsten Geisler, or Rebecca Horn, are just as noteworthy as works reflecting the impacts of mass media like television (Nam June Paik, Wolf Vostell), the connection between technology and the military, borders and surveillance, or violence in the digital space (Paul Garrin, Hanna Haaslahti, David Rokeby) or natural ecosystems (Justine Emard, Claudia González Godoy). Artists repeatedly question the possibilities and effects of new media, rethink and redesign them, thus bringing forth new social and cultural narratives that shape the discourse about our relationship with technology. 

We perceive art, as the exhibition title suggests, as a story that will never end as long as there are people. The fact that we do not know what form it will take in the future is something it shares with technology. Our knowledge of the past and present influences how we shape the future and value what is yet to come.

The restoration of media art

„The Story That Never Ends“ not only refers to artistic development but also to the challenges museums face when collecting media artworks: Technical devices are not made for eternity, data carriers deteriorate, software standards become obsolete very quickly, and media formats are no longer readable after a few years. This means that works must continuously be monitored and technically updated by conservators. What impact does this have on art and our cultural memory? What skills do we need to develop to not only have a future but also a past?

The ZKM has an internationally recognized expertise in the conservation and restoration of media art. However, since these conservation and restoration activities mostly happen behind the scenes, »The Story That Never Ends« takes a radical step: The decision about which key works from the collection are shown in the exhibition has been entrusted to the conservators of the ZKM. In doing so, they bring hidden treasures to light that have, due to elaborate preservation measures, often not been publicly visible for decades. Since the works themselves do not necessarily reveal the complexity of their technology and the challenges of their preservation, the exhibition also provides an introduction to the history of technology and conservation strategies for this type of works.

The view from the past into the future

»The Story That Never Ends« thus not only tells the fascinating story of media art through the unique collection of the ZKM. It also highlights the fragility of our electrified and digitalized civilization. The exhibition allows for an in-depth insight into the art and technology history of the 20th and 21st centuries and shows how history sharpens the view of the present and stimulates the imagination of possible futures.

Wed to Fri: 10 am to 6 pm
Sat, Sun: 11 am to 6 pm

DAS SANDKORN presents at the Lukaskirche Karlsruhe

Die Monster-WG
by Bernd Kohlhepp
for children from 5 years (preschool and primary school)
Morning performances
For groups, please make a reservation by phone!

In a castle ruin lives the grumpy old Baron Bartimäus. Although he has been dead for a long time, his restless spirit inhabits his battered armor and haunts the crumbling walls.
In doing so, he encounters various night creatures, such as an owl, with whom he always has interesting conversations. Occasionally, he has to chase away some overly enthusiastic hiking groups that have made themselves comfortable in his castle ruin, or a couple that would like some privacy there... However, he prefers to be alone and doesn't want to know much about the world.
It could have gone on like this for several more centuries - but one day everything changes!
A jinx is sent to him by post. The cargo ship carrying him sank, and the postman had a bicycle accident. The jinx wants to stay in the castle ruin because nobody likes to have him around. Not only does he bring bad luck to himself, but also to everyone he comes into contact with. Bartimäus is not particularly pleased and tries to get rid of the bird as quickly as possible. But the bird cannot be shaken off. Where should he go?
Little by little, he now receives visits from other quirky beings who had to flee their homeland because monsters and half-beings are no longer welcome there. Two will-o'-the-wisps, a series of Celtic mining dwarves, a gnome with a speech impediment, a shy dragon, and a lout gradually make their appearance and cause chaos in the castle ruin.
But when investors want to renovate the ruin and hire the ghost hunter Wassili for the "cleaning," the Monster-WG must stick together...

This play addresses the difficulties of cohabitation. How one has to keep finding common ground and how tolerance and curiosity are prerequisites for sharing the world peacefully. Customary rights do not always apply, and neither does the law of the stronger. But when such an agreement is reached, a community can form where everyone can contribute their skills for the benefit of all.

Duration of the play: 60 min.

On stage: Bernd Kohlhepp / Oliver Fobe, Michelle Brubach, Véronique Weber
Direction: Bernd Kohlhepp, Susanne Wasmann

One day an egg lies in the nest.

Mom and Dad are very happy.

A tiny gray fluff hatches from the egg.

Mom and Dad have their wings full of work.

The gray fluff becomes a hungry little penguin.

Pit learns to walk and how to survive in the eternal ice.

One day Pit is big and the nest is too small for him.

Mom and Dad are a little sad.

But life is full of surprises.

And one day an egg lies in the nest…


Play: Friederike Krahl

Director: Thomas Hänsel

Set Design: Mechtild Nienaber

Duration: 40 minutes


Doors open: 30 minutes before the start of the performance - No entry after the performance has started

With the exhibition »The Story That Never Ends. The Collection of the ZKM«, the ZKM | Karlsruhe provides a comprehensive insight into its own collection, which, with around 12,000 works, is among the largest and most significant collections of media art in the world. The exhibition tells not only of the intertwined stories of art and technology but also of the challenges that fast-paced technological media bring to museums worldwide.

The history of media art from the 1950s to the present

Electrification and digitalization have changed the world. This transformation has not only affected our daily lives but has also impacted artistic creation. 

Since the beginning of the 20th century, artists have been using these rapidly evolving technologies and constantly expanding the expressive possibilities of art: The spectrum ranges from video, light, and sound works to motor-driven kinetic objects, as well as computer-based interactive installations or works created with the help of artificial intelligence. 

With about 100 works, »The Story That Never Ends« traces these developmental lines of the apparatus arts and their openness to the categories of space, time, and movement as well as interaction and participation – from the 1950s to the present. A selection of important key works that represent significant moments and milestones of media art illustrates the diversity and impact of these technological developments. Marie-Jo Lafontaine's monumental video sculpture »Les larmes d’acier« (1987), which ironizes the complex conceptual constellations of "man, machine, power, and sexuality," as well as Bill Viola's video-sound installation »Stations« (1994), which unites central aspects of his artistic work along with fundamental themes of human existence, or Jeffrey Shaw's »Virtual Sculpture« (1981), representing early experiments in augmented reality, form a small selection of examples here. 

At the same time, the exhibition also makes the socio-political context in which the works were created comprehensible, allowing for deductions and connections to the pressing questions of our time: Feminist works by earlier (media art) pioneers, such as pezoldo (aka Friederike Pezold), Lynn Hershman Leeson, Kirsten Geisler, or Rebecca Horn, are just as noteworthy as works reflecting the impacts of mass media like television (Nam June Paik, Wolf Vostell), the connection between technology and the military, borders and surveillance, or violence in the digital space (Paul Garrin, Hanna Haaslahti, David Rokeby) or natural ecosystems (Justine Emard, Claudia González Godoy). Artists repeatedly question the possibilities and effects of new media, rethink and redesign them, thus bringing forth new social and cultural narratives that shape the discourse about our relationship with technology. 

We perceive art, as the exhibition title suggests, as a story that will never end as long as there are people. The fact that we do not know what form it will take in the future is something it shares with technology. Our knowledge of the past and present influences how we shape the future and value what is yet to come.

The restoration of media art

„The Story That Never Ends“ not only refers to artistic development but also to the challenges museums face when collecting media artworks: Technical devices are not made for eternity, data carriers deteriorate, software standards become obsolete very quickly, and media formats are no longer readable after a few years. This means that works must continuously be monitored and technically updated by conservators. What impact does this have on art and our cultural memory? What skills do we need to develop to not only have a future but also a past?

The ZKM has an internationally recognized expertise in the conservation and restoration of media art. However, since these conservation and restoration activities mostly happen behind the scenes, »The Story That Never Ends« takes a radical step: The decision about which key works from the collection are shown in the exhibition has been entrusted to the conservators of the ZKM. In doing so, they bring hidden treasures to light that have, due to elaborate preservation measures, often not been publicly visible for decades. Since the works themselves do not necessarily reveal the complexity of their technology and the challenges of their preservation, the exhibition also provides an introduction to the history of technology and conservation strategies for this type of works.

The view from the past into the future

»The Story That Never Ends« thus not only tells the fascinating story of media art through the unique collection of the ZKM. It also highlights the fragility of our electrified and digitalized civilization. The exhibition allows for an in-depth insight into the art and technology history of the 20th and 21st centuries and shows how history sharpens the view of the present and stimulates the imagination of possible futures.

Wed to Fri: 10 am to 6 pm
Sat, Sun: 11 am to 6 pm

For Kurt, the world is just fine: he is happily married, has many hobbies, and is completely satisfied. However, his wife Doris occasionally longs for a bit more variety. A forgotten wedding anniversary by Kurt brings things to a head. Spurred on by her friend Klara, she decides to finally rein Kurt in. Unexpected guests make the chaos perfect. Machismo, flirting, arguments, intrigues, and even theft are the consequences, but humor, love, and insight ensure that things become unexpectedly more turbulent than Doris had hoped, yet in the end, everyone is happier than before.

Doors open with refreshments at 6:00 PM

Admission: 7:00 PM

The new musical with live band
Start with us into the 70s – with the biggest hits from Schlager to Pop and the all-defining Disco sound!
The 1970s – what a decade: flared pants, platform shoes, flashy color patterns… and hotly debated topics between “Schoolgirl Report” in cinemas and feminism on the streets, oil crisis and emerging environmental movements, Willy Brandt's Eastern Policy and the Vietnam War.
1978 in the disco “Copacabana”: Alicia is celebrating her bachelorette party. Together with her best friend Bettina, she wants to party one last time in the club before tying the knot with Tom. Additionally, a competition is held that evening to crown the “Disco Queen,” and the bride is determined to participate. Alicia meets the flamboyant Kim and flirts with him. Does the bride suddenly have doubts just before her wedding? Bettina's alarm bells go off. And bartender Fred has his hands full playing fate. All of this is fueled by the infectious beats of the disco era!
Comedy, contemporary history, and many hits from the 70s with a live band – get ready to experience and celebrate the sound of the time up close for two hours!

Doors open at 19:00

Der gestiefelte Kater

Fairy tale based on the Brothers Grimm by Jutta Braun-Wingert
Director: Larissa Kaufmann-Nicolaus

Ages 5 and up

Leo, the miller’s son, has just learned that his father has died and he will only inherit an old cat. Disappointed, he seeks out his favorite spot at the edge of the forest. Max, the cat, follows him everywhere. There they meet Luisa. She tells them that her father is the king of the land and decides over her life because he doesn’t believe she is wise enough to do it herself. He decides what she learns, whom she meets, where she goes… Only now and then can she manage to come here to the edge of the forest to be a little alone. Leo understands her situation and encourages her. “You can do more than you think. Believe in yourself.” Luisa, in turn, urges him to hope for the good even in bad times. “Whoever has a cat has no problem with mice! And maybe he can do more than just chase mice!” She is right about that! Because the cat surprises everyone: his master, the princess, the king, little partridges, the people, and in the end, the sorceress. And then everything turns out well!

Admission: One hour before the performance begins

With the exhibition »The Story That Never Ends. The Collection of the ZKM«, the ZKM | Karlsruhe provides a comprehensive insight into its own collection, which, with around 12,000 works, is among the largest and most significant collections of media art in the world. The exhibition tells not only of the intertwined stories of art and technology but also of the challenges that fast-paced technological media bring to museums worldwide.

The history of media art from the 1950s to the present

Electrification and digitalization have changed the world. This transformation has not only affected our daily lives but has also impacted artistic creation. 

Since the beginning of the 20th century, artists have been using these rapidly evolving technologies and constantly expanding the expressive possibilities of art: The spectrum ranges from video, light, and sound works to motor-driven kinetic objects, as well as computer-based interactive installations or works created with the help of artificial intelligence. 

With about 100 works, »The Story That Never Ends« traces these developmental lines of the apparatus arts and their openness to the categories of space, time, and movement as well as interaction and participation – from the 1950s to the present. A selection of important key works that represent significant moments and milestones of media art illustrates the diversity and impact of these technological developments. Marie-Jo Lafontaine's monumental video sculpture »Les larmes d’acier« (1987), which ironizes the complex conceptual constellations of "man, machine, power, and sexuality," as well as Bill Viola's video-sound installation »Stations« (1994), which unites central aspects of his artistic work along with fundamental themes of human existence, or Jeffrey Shaw's »Virtual Sculpture« (1981), representing early experiments in augmented reality, form a small selection of examples here. 

At the same time, the exhibition also makes the socio-political context in which the works were created comprehensible, allowing for deductions and connections to the pressing questions of our time: Feminist works by earlier (media art) pioneers, such as pezoldo (aka Friederike Pezold), Lynn Hershman Leeson, Kirsten Geisler, or Rebecca Horn, are just as noteworthy as works reflecting the impacts of mass media like television (Nam June Paik, Wolf Vostell), the connection between technology and the military, borders and surveillance, or violence in the digital space (Paul Garrin, Hanna Haaslahti, David Rokeby) or natural ecosystems (Justine Emard, Claudia González Godoy). Artists repeatedly question the possibilities and effects of new media, rethink and redesign them, thus bringing forth new social and cultural narratives that shape the discourse about our relationship with technology. 

We perceive art, as the exhibition title suggests, as a story that will never end as long as there are people. The fact that we do not know what form it will take in the future is something it shares with technology. Our knowledge of the past and present influences how we shape the future and value what is yet to come.

The restoration of media art

„The Story That Never Ends“ not only refers to artistic development but also to the challenges museums face when collecting media artworks: Technical devices are not made for eternity, data carriers deteriorate, software standards become obsolete very quickly, and media formats are no longer readable after a few years. This means that works must continuously be monitored and technically updated by conservators. What impact does this have on art and our cultural memory? What skills do we need to develop to not only have a future but also a past?

The ZKM has an internationally recognized expertise in the conservation and restoration of media art. However, since these conservation and restoration activities mostly happen behind the scenes, »The Story That Never Ends« takes a radical step: The decision about which key works from the collection are shown in the exhibition has been entrusted to the conservators of the ZKM. In doing so, they bring hidden treasures to light that have, due to elaborate preservation measures, often not been publicly visible for decades. Since the works themselves do not necessarily reveal the complexity of their technology and the challenges of their preservation, the exhibition also provides an introduction to the history of technology and conservation strategies for this type of works.

The view from the past into the future

»The Story That Never Ends« thus not only tells the fascinating story of media art through the unique collection of the ZKM. It also highlights the fragility of our electrified and digitalized civilization. The exhibition allows for an in-depth insight into the art and technology history of the 20th and 21st centuries and shows how history sharpens the view of the present and stimulates the imagination of possible futures.

Wed to Fri: 10 am to 6 pm
Sat, Sun: 11 am to 6 pm

For Kurt, the world is just fine: he is happily married, has many hobbies, and is completely satisfied. However, his wife Doris occasionally longs for a bit more variety. A forgotten wedding anniversary by Kurt brings things to a head. Spurred on by her friend Klara, she decides to finally rein Kurt in. Unexpected guests make the chaos perfect. Machismo, flirting, arguments, intrigues, and even theft are the consequences, but humor, love, and insight ensure that things become unexpectedly more turbulent than Doris had hoped, yet in the end, everyone is happier than before.

Doors open with refreshments at 6:00 PM

Event information for ticket buyers:

- Seating: Please take your seats at least 15 minutes before the game starts
- Mobile phones: Please set your mobile phones to silent and do not use flash
- Access to the hall: Access to the hall is prohibited during a played set
- Bringing food and drinks to the event is prohibited

Additional information for the VIP area:

Opening hours of the VIP area:
- 90 minutes before the game starts
- During the 20-minute break
- After the game ends
- Important: The VIP area remains closed during the game time

These guidelines are intended to ensure that all guests can enjoy the event in a pleasant and disturbance-free atmosphere. Thank you for your understanding and cooperation.

Hall entrance: 90 minutes before the game starts

The money is there, the hair is gray. Six so-called best-agers, somewhere between 60 and 80 years old, three women and three men, have taken the leap: They are searching for a new partner, a new partner – at the Speed Dating event of a contact exchange. Whether widowed, divorced, or long-time single, each brings their own hopes and yearnings. But what unites them all is the awareness of their own transience, the longing for closeness, and the willingness to expose themselves to a complete stranger. A humorously touching piece about the spring feelings in old age.

Director: Tristan Vogt (Nuremberg)
Cast: Friederike Krahl, Sebastian Kreutz
Set Design: Joachim Torbahn
Duration: 70 min. without intermission

Entry: 30 minutes before the show starts - No entry after the show has started

The cow Lieselotte is actually quite peaceful. She and the farmer's wife are very good friends.
But the farmer's wife also finds the postman Heiner nice, and when she invites him in for coffee, no one has time for Lieselotte anymore.
Lieselotte has to take action: Every day she ambushes the postman to scare him. The poor guy is already having nightmares.
That has to change, he thinks.
Suddenly, Lieselotte also receives a package and even gets to help deliver the mail.
And when she gets sick, Heiner takes care of her.
From now on, Lieselotte has two good friends.

Play: Thomas Hänsel
Director: Jörg Bretschneider
Set Design: Matthias Hänsel
Running Time: 45 minutes

Entry: 30 minutes before the show starts - No entry after the show has started

The cow Lieselotte is actually quite peaceful. She and the farmer's wife are very good friends.
But the farmer's wife also finds the postman Heiner nice, and when she invites him in for coffee, no one has time for Lieselotte anymore.
Lieselotte has to take action: Every day she ambushes the postman to scare him. The poor guy is already having nightmares.
That has to change, he thinks.
Suddenly, Lieselotte also receives a package and even gets to help deliver the mail.
And when she gets sick, Heiner takes care of her.
From now on, Lieselotte has two good friends.

Play: Thomas Hänsel
Director: Jörg Bretschneider
Set Design: Matthias Hänsel
Running Time: 45 minutes

Entry: 30 minutes before the show starts - No entry after the show has started