Accessibility

The information on the accessibility of the 2025 Festival edition will be updated continuously. For needs on-site, suggestions related to improvement as well as clues on barriers, please contact:

P (Paula) Emmrich - Contact for Questions on Accessibility
Mobile +49 176 587 685 11 (also available via WhatsApp / Telegram / Signal)
Mail barrierefreiheit@theaterformen.de

A Relaxed Performance is targeted at audiences who benefit from a more relaxed theatre and event atmosphere. It aims to welcome viewers who are often excluded in performance spaces. These include, for example, autistic persons, people with Tourette's, people with learning disabilities or chronic pain.

The idea is to adapt conventional theater etiquette, which excludes people with disabilities or chronic illnesses in many places, so that they can experience a performance in a more relaxed atmosphere. Among other things, this means:

• before the performance begins, the Relaxed Performance is announced;
• sounds and movements from the audience are explicitly welcome;
• the audience is allowed to leave and return to the auditorium at any time.

This offer applies to the following events: 

Sat 21.06. 21:00 – 22:15
Sun 22.06. 20:00 – 21:15
Cumberlandsche Bühne
Magic Maids 
Eisa Jocson & Venuri Perera

Sun 22.06. 18:00
Mon 23.06. 19:00
Ballhof Zwei
PAS MOI
Diana Anselmo 

Tue 24.06. 19:00
Wed 25.06. 19:00
Ballhof Eins
When I Saw The Sea
Ali Chahrour

Fri 27.06. 18:00 – 19:30
Sat 28.06. 21:00 – 22:30
Cumberlandsche Bühne 
MONGA
Jéssica Teixeira 

Fri 27.06. 21:00 – 22:00
Sat 28.06. 18:00 – 19:00
Ballhof Zwei
Blood Show 
Ocean Stefan

Sat 28.06. 19:00 – 20:30
Sun 29.06. 18:00 – 19:30
Ballhof Eins
Songs of the Wayfarer
Claire Cunningham

Note: You can find all videos in German Sign Language (DGS) with English subtitles here.

Sun 22.06. 18:00
Mon 23.06. 19:00
Ballhof Zwei
PAS MOI
Diana Anselmo 

The performances of PAS MOI will be translated from Italian Sign Language into German Sign Language (DGS).

Fri 27.06. 18:00 – 19:30
Sat 28.06. 21:00 – 22:30
Cumberlandsche Bühne 
MONGA
Jéssica Teixeira 

The performances of MONGA will be translsated from Spoken Portuguese into German Sign Language (DGS).

Sun 29.06. 18:00 – 19:30
Ballhof Eins
Songs of the Wayfarer
Claire Cunningham

The perfromance Songs of the Wayfarer on 29.06. will be translated from Spoken English into German Sign Language (DGS).

Audio descriptions make theater performances accessible for blind and visually impaired people. In the audio description during the performance, the events on stage are described. This gives blind and visually impaired people access to the visual elements of a play, including movement, gestures, facial expressions, stage design, costumes and props.

Before the performance, a touch tour can be offered. During a touch tour, blind and visually impaired people can adequately perceive the stage space. The objects in the space are first described in detail and with precision. Then the participants can touch them one after the other.

Following events take place with German audio description WITH touch tour:

Sat 21.06. 21:00 – 22:15
Cumberlandsche Bühne
Magic Maids 
Eisa Jocson & Venuri Perera

The touch tour for Magic Maids on 21.06. takes place in Spoken German. 

We do not recommend visiting the performances of Magic Maids with an assistance dog. At the end of the piece, ground chilli, salt and turmeric are spread around the room. This can lead to irritation of the mucous membranes and coughing. 
 

Following events take place with English audio description WITH touch tour:

Sat 28.06. 19:00 – 20:30
Ballhof Eins
Songs of the Wayfarer
Claire Cunningham

The touch tour begins at 5:30 PM and lasts 20–30 minutes. The meeting point is in the foyer of Ballhof Eins, to the left of the entrance.

The following performances take place with English audio description 
WITHOUT touch tour:

Sun 29.06. 18:00 – 19:30
Ballhof Eins
Songs of the Wayfarer
Claire Cunningham

Guide dogs are allowed to accompany you, of course. We kindly ask you to announce this when buying your tickets, so that we can provide you with suitable seats.

You can register for the audio description after purchasing your ticket via telephone or by sending an email to:

P (Paula) Emmrich – Contact for Questions on Accessibility
Mobil +49 176 587 685 11 (also available via WhatsApp / Telegram / Signal)
Mail barrierefreiheit@theaterformen.de

Note: The Audio Flyer is in german

Note: The Audio Flyer is in german

Early boarding refers to the earlier admission to the auditorium. The offer is for everyone, especially visitors with visible and non-visible disabilities, who wish to have a more relaxed arrival in the auditorium and would like to calmly find a seat according to their needs.

Start time: 20 minutes before the performance begins.
Meeting point: to the right of the info/ticket counter, next to the Early Boarding sign.

We offer early boarding at the following events:








Sun 22.06. 18:00
Mon 23.06. 19:00
Ballhof Zwei
PAS MOI
Diana Anselmo 

Tue 24.06. 19:00
Wed 25.06. 19:00
Ballhof Eins
When I Saw The Sea
Ali Chahrour

Sat 28.06. 19:00 – 20:30
Sun 29.06. 18:00 – 19:30
Ballhof Eins
Songs of the Wayfarer
Claire Cunningham

On this page we provide information on the expectations that might be placed on the audience during the performance. In addition, we highlight various acoustic, visual, olfactory, gustatory and haptic triggers that may be sensory triggers for people. Transparent communication in this regard allows potential attendees to decide themselves whether a performance is accessible for them.

Because some of the productions are still in the process of being developed, this page will be continually updated and supplemented with information as required.

Visual Stimuli

• A strobe light is used for several minutes (up to 3 minutes), sometimes in combination with loud music.
• There are many lighting changes, some of them sudden.
  Most of the time, the stage is dimly lit with isolated spotlights.
• In the background, there is a large video projection showing images from a live camera feed, which occasionally moves quickly. 
• In one scene, clips from horror films are shown.
  In one scene, spotlights rotate rapidly in circles.

Auditory Stimuli

• Many scenes feature loud music: drums, cumbia, loud electric guitar, and electronic music with strong, sometimes vibrating bass.
• In one scene, loud drumming begins suddenly.
• Loud shouting can be heard.

Changes in Location / Admission

The performers enter from the audience area in semi-darkness.

Smell / Tactile Stimuli

• In one scene, the performers smoke on stage. Cigarette smoke may be noticeable in the front rows.

Other

• Fog is used in several scenes.

Visual Stimuli

• Upon entry, the room is almost completely dark, with light only coming from the projection.
• A strobe light is used.
• The stage is dimly lit.
• Videos are projected onto a screen, some of which are shaky.
• The screen displays flickering or unstable images.
• A small, bright light shines toward the audience and moves slowly.

Auditory Stimuli

• High-pitched, shrill music is used repeatedly.
• A booming bass, throbbing sounds, and interference noises can be heard.
• The vibration of the bass is physically perceptible.
• There is a short, loud scream.
• In one scene, smacking or slurping noises are present.

Other

• Fog is used in several scenes.

     Venue / Route to the venue

• The route to the venue takes about 20 minutes by foot along unpaved paths through the forest. The audience sits on the forest ground, there is no seating, and some spectators have to turn round or stand in order to see the performers as they move through the audience.
  
  Acoustic stimuli
   
• The performers shout and moan rhythmically in polyphony. This increases for around 25 minutes, with repeated loud screams, some of which are partly croaking and stifled.
• Flute playing and singing can be heard.
  
  Interaction with the audience
   
• The performers walk through and sometimes close to the audience. They climb trees and may touch members of the audience. Some audience members are touched casually, e.g. on the shoulder.
• The performers breathe on the skin of some spectators.
• The performers dance around individual members of the audience, holding on to them and shouting.
• The performers run, wrestle and dance between the members of the audience.
  
  Odour/Haptics
   
• The audience sits on the forest floor, sometimes leaning against trees. The performers are spraying with water that may hit the audience.

    Visual stimuli

• The stage is evenly illuminated. There are no sudden light changes, all light changes happen slowly.
• Occasionally, the light flickers in dim lighting.
• In one scene, the room is almost completely dark. Meanwhile, echo sounds can be heard and the performers move around the room.

    Acoustic stimuli

• The sound of brooms can be heard: Broom handles knocking and falling on the floor, brooms sweeping the floor.
• Rustling sounds can be heard.
• In some scenes, the performers' loud breathing can be heard, which is amplified with echoes. Shrill screams can be heard. The room is dark.
• Loud music is used. Some of this music can be heard with echo. There is whispering in one scene.
• In one scene, a rhythmically booming bass can be heard.
• At one point, one of the performers screams loudly.
• Disturbing noises with a rattling sound are used.

    Interaction with the audience

• At the beginning, the performers throw small pieces of raw ginger into the audience.
• The performers hold long brooms over the heads of the first two rows of the audience.
• The brooms are moved and waved with sweeping movements near the audience and above their heads.
• Individual members of the audience are addressed. They are asked questions.
• A person in the front row is suddenly shouted at.
• At the end of the piece, some audience members are given a broom.
• The performers approach the front row but do not touch them.

    Odour / Haptics 

• At the end of the piece, ground chili, salt and turmeric are spread around the room. This can lead to irritation of the mucous membranes and coughing. It is not recommended to bring assitant dogs.
• A lime is squeezed on stage.

• Description of experiences with audism and ableism
• Thematization of the "cure" of disability and deafness, healthcare systems, and institutionalization
• Thematization of eugenics and forced sterilization
• Mention of concentration camps and the Holocaust

Visual Stimuli

• A large, glaring spotlight shines directly into the audience during admission and for the first 15 minutes of the performance.
• The stage remains dimly lit throughout.
• Lighting changes occur slowly.
• At the end of the performance, there is a brief moment of complete darkness.

Auditory

• High-pitched beeping sounds, street noise, a dull knocking, and animal-like noises can be heard simultaneously. Singing and music are played on top of this.
• One performer repeatedly breathes quickly and gasps. A continuous, droning sound is heard for over 5 minutes.
• For 7 minutes, drilling sounds, gasping breaths, and singing occur simultaneously — 3 of those minutes in complete darkness.
• In one scene, loud banging and gunshot-like sounds can be heard.
• There is multi-part, buzzing-style singing.
• There is shouting on stage.

Visual Stimuli

• Throughout the entire performance, the stage is dimly lit.
• The visual stimuli are very intense over the course of the piece, can change rapidly in texture and color, and are repeatedly directed at the audience.
• Strobe lighting is used – sometimes for several minutes or with rapid color changes.
• There are spotlights that occasionally shine into the audience, move around, and vary in brightness. One large spotlight rises and shines directly at the audience.
• On both sides of the stage, there are large screens with video projections.

Auditory Stimuli

• Loud music plays during large portions of the performance.
• Thunder sounds can be heard.
• There is loud shouting on stage.
• Growling sounds can be heard.
• In one scene, smacking or chewing sounds are audible.

Other

• Fog is used repeatedly throughout the entire performance. There is also a lot of fog in the auditorium during admission, which may affect orientation.
• Artificial snow is used.

    Visual stimuli

• Stroboscope is used in one scene.
• Electronic music is played.
• Fog is used in the piece.
• The room is only dimly lit throughout the performance.
• A large spotlight shines from the back of the stage towards the audience.
• A large screen shows the action on stage via a live camera. At times, the camera moves with the performer. Later, the screen shows flickering interference images for approx. 4 minutes.
• In one scene, the light flickers.
• In one scene, a rotating disco ball reflects small dots of light onto the stage and into the audience, which can be dazzling.

     Acoustic stimuli

• There is live music in several scenes with loud vocals and distorted electric guitar.
• Loud sirens can be heard in one song.
• There is a scene with loud electronic music, over 10 minutes of loud, escalating music with drums.

    Interaction with the audience

• The performer, masked as a gorilla, approaches the front row. She addresses questions to the audience and also to individual members of the audience, which are to be answered and from which conversations arise.
• In the dark, the performer holds the hands of some of the people in the front row.
• At the end of the piece, some audience members are asked to dance together. They dance for about 5 minutes to loud music with flickering lights on the stage.
• Shot glasses with rum are distributed to the audience.

     Odour/Haptics

• Shot glasses with rum are distributed to the audience.

Acoustic stimuli

• During the entry, pop music is playing.
   
• The performers fight with each other, and sounds of the fight can be heard: hitting, screaming, panting, choking. Meanwhile, music (acoustic guitar and vocals) is playing.
  In some scenes, there is live singing.
• A sudden loud cracking sound comes from a plastic cup being crushed.
• There is a sudden bang when the tree is thrown to the ground.
• The sound of flowing fake blood splashing can be heard.
• The performers shout loudly.

Visual stimuli

• The entire performance area is evenly lit, and the audience area is lightly illuminated as well.
• All light changes occur slowly.
• At the end of the piece, there is complete darkness for about 2 minutes.

Interaction with the audience

• A performer repeatedly walks close to the front row.

Smell/Tactile stimuli

• Fake blood is spilled or spat. This may splash the front row. The blood is washable. During the entry, rain ponchos are available to protect from splashes.

Auditory stimuli

• loud singing
• rattling

Smell

• smoking

    Visual stimuli

• Light changes take place slowly and are demonstrated at the beginning of the performance.
• The performer wears a headlamp, which may dazzle the audience.
• The room is dark in individual scenes, there is sparse lighting from the projections.
• The performance begins with approx. 7 minutes of darkness.
• There are projections on a large sheet of fabric and on the floor. The projections on the floor sometimes move. From the seats on the stage, it can look as if the floor is moving.

    Acoustic stimuli

• All sound changes take place slowly and are demonstrated at the beginning of the performance.
• Loud, classical music is played.
• The performer sings loudly in an operatic style.
• There are sequences with long-lasting, swelling music with a deep bass that can trigger vibration.
• Rhythmic clacking of the crutches can be heard.
  
  Interaction with the audience
   
• The performer moves close to the seats marked in orange and the seating options on the stage.
• The performer moves along the orange-coloured markings through the audience. She makes sweeping movements with the crutches close to the audience.
• The performer offers biscuits to some members of the audience (the biscuits do not contain nuts), and they may ask you to hold their coffee cup. You can say no, if you’d prefer not to take part.

     Odour / Haptics

• The performer eats cookies and drinks coffee in the audience area, which can be smelled at the back of the hall.

For Songs of the Wayfarer is a sensory story available, which can be downloaded here.

On this page, we point out different harmful content that can be potentially triggering. A transparent communication about this allows potential visitors to decide for themselves whether a performance is suitable an accessible for them. 

We are aware that some content without content notes can make people feel unsafe, as this content can be offensive, disturbing, stressful or even retraumatizing.

However, because there is a very wide range of potential triggers and it is not always possible to think about and include all of them, we would like to offer our audience the opportunity to check with us in advance about specific triggers.

We encourage you to reach out to us and ask if specific triggering content will be addressed, shown, or performed in any of our performances. All you need to do is send us a short e-mail, which does not require any special wording and may even consist of just a question.

Please understand, however, that it will not always be possible to provide information on all pieces and performances, as some of them are still in the process of development until the festival. However, we will make every effort to follow up on all inquiries as far as we are able.

Because some of the productions are still in the process of being developed, this page will be continually updated and supplemented with information as required.

• Themes of: poverty, drug use, addiction, homelessness, physical violence, life in prison, motherhood in prison, trans life in prison, transphobia, difficult family relationships, abuse of power
• Mention of forced medication
• Implied reenactment of physical violence
• Implied reenactment of a police stop
• Excerpts from horror films are shown on the screen without sound

• Themes of physical violence, rape, killing, and death
• Themes of digital violence, non-consensual sexualization of minors, and the sharing of intimate images
• Performed depictions of dying and playing dead
• Fake blood: An actress wears realistic makeup around the eye resembling an open wound, from which fake blood runs during the performance.
• The wound is shown in close-up for several minutes.
• Panic-stricken crying, gasping, sniffling due to pain
• Twitching movements
• AI-generated images of human bodies with deformed and twisted limbs, hands, and heads

• Naked bodies
• Depiction of Transfer
• A bottom, only covered by a thin string, which is partially shaken directly in front of the faces of the spectators
• Suggestion of seizures, tongues hanging out and saliva
• Suggestion of penetration, e.g. on trees and close to individual spectators
• Depiction of fighting, grabbing and pulling on the head, falling down

• (Satirical) reproduction of colonial thoughts
• Retelling of experiences of violence from the lives of “housemaids”: mention of physical violence, exploitation, rape, murder, execution, cannibalism
• Critical examination of the supposed “ownership” of people
• Twitching, seizure-like movements with hysterical laughter
• Commenting on characteristics of audience

• Description of experiences with audism and ableism
• Discussing the "cure" of disability and deafness, healthcare, and institutionalization Discussing eugenics and forced sterilization
• Mentioning concentration camps and the Holocaust

• Thematization of  the attack of the South Lebanon by the Israeli army
• Thematization of flight and war
• Thematization of poverty and servitude
• Thematization of the loss of family and children
• Depiction of motionless bodies
• Graphic descriptions of violence

• Explicit Depictions of: Physical violence, Sexualized violence, Self-mutilation, vomiting
• Nudity
• Sex and masturbation on stage
• Self-harming actions
• Detailed descriptions of sexualized violence
• Feces
• Close-ups of wounds and surgical procedures
• Blood, realistic depictions of bloody scenes
• Visible use of needles (including on the eye), live piercing
• Various aerial acrobatics
• Themes of Medical Overreach
• Assaultive behavior in medical contexts
• Hospital setting and medical gaslighting
• Description and evaluation of genitals and reproduction
• Reproduction of queer- and transphobic narratives about genitals
• Reproduction of the "hysterical woman" trope
• Racism and ableism in the healthcare system – experiments on Black and disabled people, eugenics, murder
• Non-consensual administration of medication
• Biohacking – eternal life, curing diseases
• Depiction of an electric shock
• Depiction of childbirth

• Nudity
• Thematisation of ableism using historical examples
• Thematisation of experiences of racism and exploitation of disabled BIPoC
• Thematisation of experiments and research on disabled bodies and freak shows
• Thematisation of death and death during childbirth
• Detailed description of a dissection and a murder
• Partial reproduction of ableist language
• Alcohol is distributed to the audience and they are encouraged to drink

• Fake blood: The performers are smeared with it from head to toe, spit it around, and drench the stage in it. The blood is used in the depiction of violent acts
• Repeated depictions of physical violence: fight, strangulation, suffocation
• Implied violent neck-breaking
• Implied multiple gunshot wounds

• Nudity
• Performers move close to the audience
• One of the performers wears a (fish) mask covering the entire face
• Props are handed to individual audience members

• Thematisation of death and grief

Paula Emmrich – Contact for Questions of Accessibility 
Mobile +49 176 587 685 11 (Signal / Telegram / WhatsApp)
E-Mail barrierefreiheit@theaterformen.de

As part of the Festival Theaterformen, alternative seating in the form of beanbags will be installed for all performances (for example, for audience members with chronic pain).

These seats can be booked in advance as "Sitzsackplatz".

We will provide alternative seating in the festival centre Theaterhof. As the festival centre is currently in the process of being developed, it is currently not possible to provide more detailed information. This page will be updated on an ongoing basis and information will be added as required.

For the majority of our international guest performances we offer surtitles. This means that all the languages used in the play are projected simultaneously in written form for reading along.

Generally, we offer German surtitles, but if the guest performance is in a language other than English, it will also be surtitled as well in English.

Here is an overview of all performances with surtitles: 

Thu 19.06. 20:00 – 21:40
Fri 20.06. 20:00 – 21:40
Schauspielhaus
Los días afuera / The days out there
Lola Arias

Sun 22.06. 18:00
Mon 23.06. 19:00
Ballhof Zwei
PAS MOI
Diana Anselmo 

Tue 24.06. 19:00
Wed 25.06. 19:00
Ballhof Eins
When I Saw The Sea
Ali Chahrour

Thu 26.06. 20:00 – 22:30
Fri 27.06. 20:00 – 22:30
Schauspielhaus
A Year without Summer
Florentina Holzinger

Fri 27.06. 18:00 – 19:30
Sat 28.06. 21:00 – 22:30
Cumberlandsche Bühne
MONGA
Jéssica Teixeira  

Sat 28.06. 19:00 – 20:30
Sun 29.06. 18:00 – 19:30
Ballhof Eins
Songs of the Wayfarer
Claire Cunningham

Thu 19.06. 20:00 – 21:40
Fri 20.06. 20:00 – 21:40
Schauspielhaus
Los días afuera / The days out there
Lola Arias

Fri 20.06. 19:00
Sat 21.06. 19:00
Ballhof Eins
DEEPER
Gosia Wdowik

Sat 21.06. 21:00 – 22:15
Sun 22.06. 20:00 – 21:15
Cumberlandsche Bühne
Magic Maids 
Eisa Jocson & Venuri Perera

Sun 22.06. 18:00
Mon 23.06. 19:00
Ballhof Zwei
PAS MOI
Diana Anselmo 

Tue 24.06. 19:00
Wed 25.06. 19:00
Ballhof Eins
When I Saw The Sea
Ali Chahrour

Thu 26.06. 20:00 – 22:30
Fri 27.06. 20:00 – 22:30
Schauspielhaus
A Year without Summer
Florentina Holzinger

Fri 27.06. 18:00 – 19:30
Sat 28.06. 21:00 – 22:30
Cumberlandsche Bühne
MONGA
Jéssica Teixeira 

Sat 28.06. 19:00 – 20:30
Sun 29.06. 18:00 – 19:30
Ballhof Eins
Songs of the Wayfarer
Claire Cunningham