I would like to see the whole play...
Photos: Michael Pöltl
The play
In her latest theater work, Karin Schäfer confronts the subject of aging. What does it mean to grow old as a puppeteer, as a theater maker?
The eyes may become weak, the hands shaky, the posture stooped, the world around us faster and faster. The routines on stage become ever more demanding, the memory ever flatter. Things are slipping away, quite literally.
What remains is the will to play, because none of this can be taken too seriously. Making theater means experimenting, having the courage to fail and the urge to persevere.
The story
The party is over. She cleans up. How many years? It's been a long time. Only the faint and blurred image of who she once was shines through. What she once was. Who and what she represented.
Memory - always one step behind her - is her constant companion: younger, better, but by no means reliable, often even annoying.
The challenges of everyday life, her studio, the stage: step by step, day by day... more challenging.
So what to do? Facing up to ageing means giving it a new meaning.
“If keeping up becomes impossible, then a new focus is needed on what is possible.”
The production
Frame by frame, scene by scene, Karin Schäfer's alter ego fights for and reclaims her métier on stage:
If the eyes become blurred, then the planned paper theater also becomes blurred. If the hands become shaky, then shaking is part of the performance. If hearing is difficult, then silence is mandatory. Every scenic and personal challenge demands creative and dramatic re-evaluation.
In the process, she repeatedly - and quite literally - struggles with her memory. But in the end, she demonstrates what she has set out to do - without intending to: A new perception of ageing is possible, creating new perspectives and opening up unexpected dimensions.
The audience
Adults
(young people from 12 years welcome)
We are delighted about the enthusiastic reception of the premiere at Festival PannOpticum in
Neusiedl am See, August 2024:
“I was deeply moved”
“Congratulations on “Crazy old me”, which brought me to tears of emotion and joy!”
“This is how getting older can go”
“...a real master - and with so much charm and humor!”
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“What does it mean to grow old as a puppeteer, as a theater maker?”
Topic
It is a change that affects us all equally, even if we resist it to varying degrees: getting older, and ultimately, getting old. Whatever that means.
This issue impacts our society as a whole; it is becoming increasingly older, while at the same time, a pervasive cult of youth is being celebrated. What does this distortion mean for the individual? What does it mean for women in particular, regarding the roles they want, should, may, or have to play?
Crazy Old Me approaches these questions from a deeply personal perspective, reflecting the relevance for one or even several generations of independent, self-confident, active, and creative women—who nevertheless must confront change and aging.
Background
Coinciding with the Covid pandemic, Karin Schäfer overcame a (different) serious illness. While the theater world largely came to a standstill, her own world was also thrown back to diagnosis, healing and convalescence.
As the cultural sector slowly got back on track, she initially focused on her second passion, the visual arts, developing a new line of work for herself: the SEAmaps.
Crazy Old Me marks her return to the world of theater—a world that has changed, just as she has, as a theater maker, over the years.
It is the perfect moment not only to create a new play but also to reflect on change itself within this work.
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Realization
We see the protagonist in her studio: an aging puppeteer, represented by a life-size figure, alongside her “memory”—personified by Karin Schäfer herself, who plays both roles simultaneously.
The action unfolds in the puppeteer's workshop, where she attempts to continue working on a piece she started long ago but left unfinished due to unforeseen circumstances. This will be her first premiere in a long time. All the tools and materials are still in place; everything remains as it always was—except for her. Her eyesight is weak, her hearing is failing, her hands are shaky, and her movements are unsteady.
When she realizes how much this affects her work and how close she is to the brink of failure, she begins to find new approaches and solutions for each of the scenes she originally planned. These solutions, while reflecting her age and the accompanying limitations, also emerge as possibilities that would not exist without her age and those limitations.
The play is conceived (almost) without words, focusing on the power of the visual language of contemporary puppet theater. Music plays a key role, performed by the puppeteer herself on an old-fashioned record player to accompany her work.
The Team
Performances:
Karin Schäfer
Actress, puppetry, director
Peter Hauptmann
Light, sound, organization
Production:
Karin Schäfer
Idea, concept, design, set, puppetry, props
Peter Hauptmann
Management & organization, construction (Memory Machine)
Almut Schäfer-Kubelka
Outside-eye, dramaturgical consulting
Ludivine Laustriat
Lighting concept
Naomi Bhamra
Costumes: Old Lady & Crazy Old Pianist
Gerhard Gruber
Composition: Crazy Old Pianist
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Press Releases
(Currently only in German)
FAQ
Organizational
Where can this performance be seen?
We are a touring theater and perform wherever we are invited —typically at festivals and guest theatres. Our productions have taken us to 45 countries worldwide, so we could be anywhere! If you’d like to find out where our next performances will be, the best way is to subscribe to our newsletter:
Is there a complete recording of the entire performance available?
Yes, and we would be happy to send you the link to watch it if you’re interested in programming the play or covering it in your publication or media outlet. We will also provide the link to interested audience —on the condition that you promise to attend the next performance in your area :-)
How can I book this play?
Please send us an email to the following address: tour@figurentheater.at and we will get in touch with you as soon as possible
Is it complicated if we want to show this play at our festival / in our theater / as part of our program?
Not at all, as long as an appropriate stage is available—at least 6 meters wide and 5 meters deep, equipped with a lighting and sound system. We require 1 hour to set up our stage set and an additional 3 hours for stage lighting setup and sound check. We would be happy to send you a technical rider.
How many spectators can watch, and what age is the play suitable for?
The play is aimed at adults, but young people aged 12 and above are welcome. With tiered seating and a good view of the stage, up to 200 spectators can attend, depending on the capacity of the venue.
What language is the play performed in?
The play is non-verbal and can be understood worldwide.
What does it cost?
We would be happy to send you a no-obligation overview of the fees and travel costs. Please let us know when, where, and in what setting you'd like to show our play. Booking multiple performances at the same location is much more cost-effective than a single performance.
How big is the team?
Our team for this play consists of two people: Karin Schäfer (performance) and Peter Hauptmann (technician & organization).
Do you have a lot of luggage?
The stage set and props are easily transportable. Everything is packed into three aluminum boxes (90 x 50 x 40 cm each), weighing 32 kg each. We can transport the set by car or plane, or ship it by cargo, depending on the distance from our hometown (Vienna, Austria), or if we are on tour, the location of the previous performance..
I have another question...
Feel free to write to us! We'd be happy to answer any additional questions you may have. We look forward to hearing from you at: tour@figurentheater.at
