First of all, it is a conventional theater space, executed with high aesthetic standards. But then everything dissolves and drifts apart...

The space is an extremely classical stage, walls with capitals and socle panels, full-height doors and a ceiling with a stucco wreath and chandelier.

A design without visible divisions was required. The frame construction and rear tension with the fabric panels turned out to be too complex to manufacture in the course of the planning process. A complete revision of the construction followed, and ultimately the second variant was a success both aesthetically and financially.

An oversized rug, not available in the near future from the Orient dealers in the capital, was ultimately printed. The furniture was exceptional in quality and was largely custom made. Mainly because the sentence had to exist twice, once "normal" and once "bedazzled"...with glitter and special covers, as if covered with diamond dust and set in a magical world.

There were also two chandeliers. And one of the two had to float in from above with an actress through the raised ceiling opening. In the mold of the Komische Oper, this required a lot of attention and improvisational skills in order to achieve a magical transformation in combination with the hand movements and the few machine movements, while not endangering the actress.

Then the room opens up and the walls and ceiling drift apart and the Madonnas are carried in. Since everything is to be put back together and closed later, it requires some special connections and technical sensitivity.

Twelve identical Madonnas with luminous wreaths of stars are then certainly the visual highlight in the very dense and atmospheric staging. A prototype from the sculptor's department of the stage service was scanned at the 'Art department Babelsberg' and then duplicated in Styrofoam with the help of a KUKA milling robot. With only a little reworking, the Madonnas could be produced in high quality, on schedule and visually very uniformly.