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Krabat

by Otfried Preußler

Young Theatre [12+]
Zwinger 3
Adapted for the stage by Frank Alexander Engel

Driven by strange dreams, Krabat, an orphan, seeks out a mill at Koselbruch. There, he’s offered an apprenticeship. Krabat agrees and quickly finds new companions at the mill. Soon he realises that he entered into an unusual agreement: Apart from teaching him to be a miller, the sinister master also teaches his apprentice the art of black magic, which can manipulate nature and people. Fascinated by the possibilities of these spells, Krabat becomes a diligent student. Little by little, he learns what other dark secrets the mill holds.

Using techniques from puppetry, »Krabat« tells of the temptations of power, of resistance against injustice and the fight for freedom.


As part of theater+, there will be one »relaxed performance« of this play.

 

Content notes

 

by Otfried Preußler
Direction, Stage, Costumes and Characters
Dramaturgy
Music Theatre Education
Behind the scenes
Assistant Director
Caroline Ufer
Costume Assistant
Hannah Schaefer
Directing internship
Lilly Thamerus
Youth dramaturgy
Jan Schau, Miranda Walter

The production of the decorative parts is carried out in the workshops of the Theater und Orchester Heidelberg.
A complete list of all employees of the technical departments involved can be found here.

Scene photo from »Krabat«: Timo Jander looks ahead. In the background, the flat, oversized mask of an old man can be seen in the approximately one-metre-wide rectangular opening in the wall. His right eye is covered and he has raised his left finger in a warning gesture. A chalk drawing of a candle can be seen on the grey, wood-like wall.
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Trailer by Siegersbuschfilm

»Höchste[s] Lob aus Teenager-Mund« hörte Ingeborg Salomon nach der »Krabat«-Premiere und findet in der Rhein-Neckar-Zeitung (2. Dezember 2025) auch selbst: »Ja, ›Krabat‹ ist ziemlich cool und unbedingt sehenswert.« Die sorbische Sage habe »nichts von ihrer Magie verloren«, zugleich biete die »anschauliche Vorführung«, was es bedeute, in einem totalitären System zu leben, »reichlich Diskussionsstoff«. Regisseur Frank Alexander Engels »ungewöhnliche« und »eindrucksvolle« Inszenierung, die die Darsteller*innen auch als Figurenspieler*innen fordere, sei mit »begeistertem Applaus« gefeiert worden.

Performance rights to the material held by Bühnenverlag Weitendorf, Hamburg