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Hermann Hesse’s timeless classic Steppenwolf has influenced and inspired entire generations. As the novel describes, Harry Haller feels that he lives ‘sometimes as a wolf, sometimes as a person’, furnished with the ability to observe himself in each state.

Deutsches Theater Aussenansicht
Deutsches Theater Aussenansicht © Arno Declair

But this duality that the Steppenwolf claims is soon undermined in the ‘treatise’: Harry consists ‘not only of two beings, but of hundreds, of thousands. His life shifts between innumerable opposing poles.’ Following the great Hesse craze of the 1960s and 1970s, Thomas Melle would now like to rediscover the author once again. Melle believes that our society is currently facing a turning point after a long phase marked by prosperity. Verbal and physical interactions are becoming more confrontational, and envy and anger are escalating.

Harry Haller’s story takes place in a similar period of transition. Depression, cultural pessimism and the longing for intensity and excess pervade the discourses and lifestyles between which the middle ground is crushed. And so Harry Haller seems to be the example of an entire generation.

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Additional information
by Thomas Melle based on Hermann HesseDirector: Lilja Rupprecht
Participating artists
Lilja Rupprecht (Regie)
Christina Schmitt (Bühne und Kostüme)
Philipp Rohmer (Musik)
Moritz Grewenig (Video)
Cornelia Gloth (Licht)
Dorian Sorg (Live-Kamera)
Marcel Braun (Ton)
Björn Mauder (Ton)
Juliane Koepp (Dramaturgie)
Elias Arens (Harry Haller)
Juliana Götze (Harry Haller / Maria)
Manuel Harder (Harry Haller)
Helmut Mooshammer (Harry Haller / Mann)
Natali Seelig (Harry Haller / Maria / Frau)
Jonas Sippel (Harry Haller / Pablo)
Katrin Wichmann (Harry Haller / Hermine)
Philipp Rohmer (Live-Musik)
Deutsches Theater Berlin