As a child, as soon as the lights go out in the auditorium, a certain creepiness sets in, an uneasy, uncanny feeling. As we grow older, our perspective on theatre shifts. The uncanny feeling decreases, boredom increases. Based on texts about the uncanny and the spooky by Freud and Mark Fisher, the performers of zaungäste enter situations that, according to theory, should be uncanny and investigate into which crack of the stage floor the creepiness disappears in practice before you feel it. Puppet murder, ghost play, looking into strange windows. In the process, they ask themselves whether and how fears can be transformed in such a way that they do not paralyse but, in old-fashioned theatre tradition, herald in a kind of catharsis. The pleasure of fear as a wellness strategy, a relaxed creepy format for the witching hour.