n the production WOYZECK by the Theater an der Ruhr Mülheim, the audience encounters a Woyzeck transferred to the present day. The audience is given direct insights into the lives of Marie and her friend and Woyzeck, who lives in the same house. Marie and her friend live together in the shared flat, where they do yoga or make music, cook together and enjoy life. Woyzeck, the new neighbour moving into the house, quickly falls in love with Marie. The relationship begins sensitively and lovingly, but takes a turn when Marie explains her understanding of relationships to Woyzeck. For Marie, it is important to be free and not to belong to anyone. Woyzeck has no sole claim on her. This positioning is Marie's undoing in the end. At the centre of the play is the critical connection between relationships and ownership, alternative concepts of relationships are negotiated. The theoretical superstructure is formed by the book "Radikale Zärtlichkeit" by author Şeyda Kurt. The rewriting of Glossy Pain gives the play WOYZECK a new narrative perspective, Marie's perspective, making it a radically feminist WOYZECK that ends with an impressive final monologue. Music and large-scale video projections create a young, contemporary atmosphere that brings the play even more strongly into the present.