"Lulu" can be considered a mythological sister of "Undine." In the same way that the mermaid in Ingeborg Bachmann's story "Undine Goes" (Undine geht) denies herself to the human world, the abused and mentally tortured Lulu in Peter Konwitschny's interpretation of Alban Berg is allowed to walk off at the end—contrary to Frank Wedekind's original intention. In his 2003 production of the two-act version in Hamburg, Konwitschny implements inventive staging to obfuscate the work's fragmentary character. Providing a correspondence to Berg's oscillation between coarse and refined musical idioms, he juxtaposes bawdy, even vulgar, streetwalking scenes and formal social settings in evening and concert dress.