The princesses' state exists in the blurred space between life and death, action and powerlessness, being and non-being—a state of nothingness. This mirrors the 'under-bridge,' a lost and transitional space, far from society's power centers and not designed for habitation. Life under the bridge may evoke romantic notions of freedom, offering protection from prying eyes, weather, and societal constraints. However, reality paints a different picture: it's cold, uncomfortable, and windswept, offering only basic survival. For women, the 'under-bridge' also represents a place of sexual assault and danger. The bridge, a construct of society, imposes its rules on those beneath it. This mirrors the artificial marginalization of women within patriarchal structures. They must develop strategies for survival, much like Jelinek's characters, who reflect on their situation but struggle to escape it. The stage's architecture limits actors' movement, reflecting the 'uncomfortable' nature of the space. The heart of the design is a challenging ramp, symbolizing the women's constant struggle to ascend and descend. References to the 'outside' include a staircase that leads upward but to nowhere, and a blue floor outlining water, extending onto windows, inviting the audience to join 'on the other side of the bank.'Fans create a cold breeze, and sound collages add emotional depth. For example, the menacing sound of a passing train contextualizes the 'outside.' Windows and columns are thoughtfully integrated into the design, connecting the bridge's place in the theater and providing a space for the women to act, much as Jelinek's play gives them a voice.

TU Bühnenbild_Szenischer Raum 2023; Mentor: Frank Hänig, Norman Heinrich; Students: Miireia Guzmann Hannah Grimme; Director of Studies: Prof. Kerstin Laube