Glückliche Tage Happy Days
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©theater.punkt | Alexandra Sommerfeld

Glutag 02

©3007 | Günter Rainer Alexandra Sommerfeld

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©3007 | Plakat | European Design Award 2020 in Bronze

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©3007 | Alexandra Sommerfeld

Glückliche Tage Happy Days


Samuel Beckett

German translation by Erika and Elmar Tophoven

In cooperation with the Galerie Elisabeth & Klaus Thoman, 1010 Vienna

”The Antarctic glaciers are moving in our direction at a rate of three millimetres per year. Calculate when they’ll reach us. Anticipate what will happen."

Michelangelo Antonioni | Sketch for a film project

Another heavenly day.

No better, no worse, no change.

Samuel Beckett | Happy Days

In 2019, 60 years after it premiered, GLÜCKLICHE TAGE Happy Days is coming to a contemporary art gallery in Vienna where it will be presented like a work of art … something magical may happen!

>>> European Design Award 2020 in bronze for the poster for GLÜCKLICHE TAGE Happy Days Designed by 3007/Eva Dranaz <<<


11 to 18 May 2019 at the Galerie Elisabeth & Klaus Thoman, 1010 Vienna

Premiere on 9 May 2019


with Alexandra Sommerfeld and Günter Rainer

Directed by Sabine Mitterecker Sound design and live electronics by Wolfgang Musil

Set, costumes and sculpture by Alexandra Pitz

Dramaturgical consultant Uwe Mattheiss




‘Happy Days’ is a milestone in modern drama. The play has not gathered even a speck of dust. The way that Winnie … palavers about the awful wonder of being alive is deeply affecting. Characteristic of Mitterecker’s skill as a director is her ability to achieve a big impact with simple means.’

Petra Paterno | Wiener Zeitung

‘Sabine Mitterecker is staging Happy Days in the elongated and light room of the Galerie Elisabeth & Klaus Thoman, amid Hermann Nitsch’s large-format pictures. Almost like exhibiting an icon that needs to be looked at anew … it has been met with an enthusiastic reception.’          

Ditta Rudle | Tanzschrift    




Something Magical May Happen.

The piercing sound of a bell ringing heralds Winnie’s speech, a narrative flow precisely timed – like clockwork. Memories of what were allegedly the good old days are interwoven with literary quotes and optimistic preparations – between the idylls, losses and traumatic experiences surface and subside.

Time and again, everything ends with a new, possibly happy day being invoked.

The language specifies the rules of the game and the rituals of what has always been thought, always been done and always been said. Remnants from our everyday lives are as surprising in the play as archaeological finds.

Only playing opens up spaces in which it is possible to remember how it was to be human – until the bell rings again.

Society itself may be long gone, but the influence its processes had on the ‘last couple’, Winnie and Willie, and their bodies is not. What remains is a post-history in which all constraints – but also all possibilities – have been removed. This space of freedom without presuppositions is structured only by the precision and musicality of Beckett’s language.

Sentences are fragments, words and meanings no longer bear any stable relation to one another. Samuel Beckett’s resistance as an artist lies in the radical form he chose, in his refusal to allow his pictures and stories to affirm the world as it had become.

For actors the way that Beckett reduced his plays to the simplest elements is what makes them so difficult. ‘For God’s sake, don’t act!’ Beckett used to demand as a director. ‘If you allow the words to breathe through your body, if you become a conduit,’ according to Billie Whitelaw, who played Winnie in his stage production of Happy Days in 1979, ‘something magical may happen.’ U.M. 2019

Production Team

Assistant director Julia Thym Assistant scenographer Veronika Harb Lighting designer M.ä.e.c.k.s Production Tereza Kotyk Press officers Barbara Pluch and Tereza Kotyk

Production gallery by Clara Sargant Christian Glatz Franziska Heubacher Elisa Sattig

Artwork, Fotos by 3007/Eva Dranaz, Jochen Fill

Photos ©theaterpunkt

Production rights granted by S. Fischer Theater- und Medienverlag

Supported by

Supported by the Cultural Affairs Department of the City of Vienna (MA7) and the Federal Chancellery

Thanks to: Klangfarbe Wolfgang Mitterecker (architect) Zweischneidig 1070 OG Siglind Güttler Bernhard Werschnak and to all donors