Accessibility

For needs on-site, suggestions related to improvement as well as clues on barriers, please contact:

Paulina Seyfried - Contact for Questions on Accessibility
Mobile +49 176 587 685 11(also available via WhatsApp / Telegram / Signal)
Landline +49 511 9999 2509
Mail barrierefreiheit@theaterformen.de

Since 2021, the Festival Theaterformen wants to become more accessible - a plan that should not really be worth mentioning, but a given. However, since these are new offerings for the majority of our audience, we would like to briefly present our plans. Since September 2020, the disabled experts Noa Winter and Sophia Neises have been accompanying us on this path. This accompaniment of the process takes place in cooperation with the Schauspiel Hannover and the Staatstheater Braunschweig. Winter and Neises have given sensibilization workshops on Ableism Critique and Accessibility for our teams as well as for the box office and admission staff and have conducted a comprehensive structural inventory of our venues in Hanover and Braunschweig. This has resulted in a manual that not only documents the current state in detail, but also outlines short-term and long-term improvement options for the future, which we are addressing together with the State Theaters.

A first result of this process is our accessible website, which includes detailed information about the venues, such as the dimensions of elevators and doors, access to accessible restrooms, and information about sensory stimuli and audience requirements for each play. Information about the festival program will also be made available in German Sign Language via video.

In addition, we have developed new services for audiences with different disabilities and needs: Since 2021, we have offered audio description with tactile tours in individual cases to make the festival accessible for blind and visually impaired audiences. In 2022, translation into German Sign Language will be added, and we will also offer Relaxed Performances for neurodivergent audiences (e.g. autistic people). In all venues, there are beanbags as alternative seating options (e.g. for audience members with chronic pain), which, like the wheelchair seats, can be easily booked via the Staatstheater ticket store.

We are aware that at the moment we are not yet able to offer services for all accessibility needs. This is just the beginning of a long-term process. We invite you to join us on this journey!

The following performances will be surtitled: 

Fri 01.07. 20:30 
Sinfonie des Fortschritts
Nicoleta Esinencu
LOT-Theater 

Sat 02.07. 20:30  
Sinfonie des Fortschritts
Nicoleta Esinencu
LOT-Theater

Tue 05.07. 19:00  
IS THIS A BLACK?
EQuemÉGosta?
LOT-Theater

Wed 06.07. 19:00  
IS THIS A BLACK?
EQuemÉGosta?
LOT-Theater

Sat 09.07. 20:00  
Carte Noire nommée Désir
Rébecca Chaillon
Staatstheater Großes Haus

Sun 10.07. 20:00  
Carte Noire nommée Désir
Rébecca Chaillon
Staatstheater Großes Haus

Thu 30.06. 20:00  
Is This A Room: Reality Winner Verbatim Transcription
Tina Satter / Half Straddle
Staatstheater Großes Haus         

Fri 01.07. 19:00  
Is This A Room: Reality Winner Verbatim Transcription
Tina Satter / Half Straddle
Staatstheater Großes Haus

Fri 01.07. 20:30  
Sinfonie des Fortschritts
Nicoleta Esinencu
LOT-Theater 

Sat 02.07. 20:30  
Sinfonie des Fortschritts
Nicoleta Esinencu
LOT-Theater

Sat 02.07. 19:00  
A Hole in Waiting
Calvin Ratladi
Staatstheater Kleines Haus, Aquarium

Sun 03.07. 19:00  
A Hole in Waiting
Calvin Ratladi
Staatstheater Kleines Haus, Aquarium

Tue 05.07. 19:00  
The Way You Look (at me) Tonight 
Claire Cunningham & Jess Curtis
Staatstheater Großes Haus

Wed 06.07. 19:00 
The Way You Look (at me) Tonight
Claire Cunningham & Jess Curtis
Staatstheater Großes Haus

Tue 05.07. 19:00  
IS THIS A BLACK?
EQuemÉGosta?
LOT-Theater

Wed 06.07. 19:00  
IS THIS A BLACK?
EQuemÉGosta?
LOT-Theater

Fri 08.07. 19:00  
Metamorphoses
Manuela Infante & Michael De Cock
Staatstheater Kleines Haus

Sat 09.07. 19:00  
Metamorphoses
Manuela Infante & Michael De Cock
Staatstheater Kleines Haus

Fri 08.07. 21:00  
How to Fail as a Popstar
Vivek Shraya
LOT-Theater

Sat 09.07. 21:00  
How to Fail as a Popstar
Vivek Shraya
LOT-Theater

Sat 09.07. 20:00  
Carte Noire nommée Désir
Rébecca Chaillon
Staatstheater Großes Haus

Sun 10.07. 20:00  
Carte Noire nommée Désir
Rébecca Chaillon
Staatstheater Großes Haus

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, there is also a tactile tour. During a tactile 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.

A German audio description with tactile guidance will take place at the following events:

Sat 02.07. 17:00 
SAWTIK. Your Voice
Your silence will not protect you
Taoufiq Izeddiou 
Staatstheater Kleines Haus

Tue 05.07. 19:00 
The Way You Look (at me) Tonight 
Claire Cunningham & Jess Curtis

The tactile tour begins one hour before each performance and lasts 30 minutes.
Staatstheater Großes Haus

A German audio description WITHOUT tactile guidance will take place at the following events:

Wed 06.07. 19:00
The Way You Look (at me) Tonight
Claire Cunningham & Jess Curtis
Staatstheater Großes Haus

Audiodescription slots for SAWTIK. Your Voice are limited to a maximum of 15 participants and for The Way You Look (at me) Tonight to a maximum of 8 participants. For more information and registration, please contact us at:

Mobile +49 176 587 685 11 (Signal, Telegram, WhatsApp)
Landline +49 531 1234 489
E-Mail barrierefreiheit@theaterformen.de 

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.

There will also be an accompanying service for blind and visually impaired audiences. More information under the following link: Accompanying service

An accompanying service for blind and visually impaired audiences is available. After registration and individual arrangement, visitors can be accompanied e.g. on the way between the venues of the festival. We will also be happy to assist with orientation inside the building at the "Großes Haus" venue, as there will be no tactile guidance system there.

The accompanying service is offered according to limited capacity.

For further information and registration, please contact us at:

Mobile: +49 176 587 685 11 (Signal, Telegram, WhatsApp)
Landline: +49 531 1234 489
Mail: barrierefreiheit@theaterformen.de

A Relaxed Performance is targeted at audiences who benefit from a more relaxed theater 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, 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. In addition, the auditorium doors may be left open during some performances

During the festival, a Relaxed Area will be set up in the Kleines Haus. People can spend time there before, during or after the performance.

The Relaxed Performance offer is valid for the following events:

Fri 01.07. 11:00 
SAWTIK. Your voice 
Your silence will not protect you
Taoufiq Izeddiou 
Staatstheater Kleines Haus

Fri 01.07. 18:00 
SAWTIK. Your voice 
Your silence will not protect you
Taoufiq Izeddiou 
Staatstheater Kleines Haus

Sat 02.07. 17:00 
SAWTIK. Your voice 
Your silence will not protect you
Taoufiq Izeddiou 
Staatstheater Kleines Haus

Tue 05.07. 19:00 
The Way You Look (at me) Tonight 
Claire Cunningham & Jess Curtis
Staatstheater Großes Haus

Wed 06.07. 19:00
The Way You Look (at me) Tonight
Claire Cunningham & Jess Curtis
Staatstheater Großes Haus

Fri 08.07. 19:00 
Metamorphoses
Manuela Infante & Michael De Cock
Staatstheater Kleines Haus

Sat 09.07. 19:00 
Metamorphoses
Manuela Infante & Michael De Cock
Staatstheater Kleines Haus

Relaxed Space
The performance and working atmosphere in the theatre still represents a barrier for many people. That is why the GATHERING is opening a Relaxed Space: a relaxed space for visitors and artists.
The Relaxed Space wants to welcome people who are often excluded from the usual theatre etiquette in performance spaces (sitting still, keeping quiet). These include, for example, autistic people, people with Tourette's, learning difficulties or chronic pain. 
The GATHERING aims to adapt the working structures for artists and teams, as well as the expectations of the audience, in such a way that everyone can participate in and shape the programme in a relaxed way. The audience is allowed to leave and return at any time. Noises and movements in the audience are welcome.

All events of the GATHERING IN A BETTER WORLD are Relaxed Performances. This excludes the event CHIKANISHING CREEK by Brian Solomon.

As part of the Festival Theaterformen, alternative seating in the form of beanbags will be installed for all performances as well as in the Festival Center (for example, for audience members with chronic pain). These seats can be booked in advance as "beanbag seats".

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. There is ear protection available at each venue’s box office, if required.

If not explicitly described otherwise, the following theatre rules will apply during attendance at the performance: attendees must conduct themselves quietly during the performances and remain seated throughout.

If necessary, hearing protection is available at the box office of the respective venue.

Because some of the productions are still being developed, this page will be continually updated and supplemented if necessary.

Is This A Room
Throughout the piece, a threatening mood is created. Psychological and physical intimidation is depicted. In addition, voice distortion is used, as well as static, high-pitched whistling sounds and dog barking. In one scene, slow-motion (slowed down movement and speech) is used. Stage fog is used at the beginning of the piece. In addition, the room is partially or completely darkened on several occasions. In one scene, blue light is suddenly used several times.

SAWTIK. Your Voice - Your silence will not protect you

Already during the entrance, five brightly illuminated stage elements are visible on the stage and music is playing (loop of a fast, spherical tone sequence as well as a dripping sound). During the performance, changing music plays almost continuously, often overlapping several sound tracks, rhythms and sound qualities. The following sounds, among others, are used: shimmering, high-pitched as well as bass-heavy tones, electronic music, mechanical sounds, traffic noises, whistling, various chants, humming, chimes, ringing, rhythmic drumming and percussion.

At one point, a performer speaks an English-language monologue over loud music; this is projected in parallel onto the stage elements. Later, waves are projected onto them. In two scenes there is very loud speaking or (partly jumbled) shouting on stage. At one point it suddenly becomes completely silent in the room.

In some scenes, the stage elements glow in a strong, warm yellow. In addition, 30 neon tubes hang down vertically from the ceiling onto the stage. At one point, these flash wildly for a few seconds. Later, they are made to oscillate in a warm yellow glow. In a scene lasting several minutes, the room is completely darkened except for one glaring light source. This is moved by a dancer, sometimes very fast and in circles, blinding the audience as well. Towards the end of the piece, there is another complete blackout lasting about half a minute.

Choreographically, repetitive circular movement patterns are used several times over an extended period of time. In addition, martial and acrobatic elements (e.g. headstand) are used. Several times the dancers step up and down through the side corridors of the audience space. Only in one scene do the performers briefly enter the margins of the audience.

Sinfonie des Fortschritts
This piece makes intensive use of sound and light effects: Electronically generated noises are used over the entire course, partly accompanied by fast beats that are strongly reminiscent of computer games and drilling noises. In addition, there are phases of distorted noise (especially towards the end), as well as a frequent overlapping of sounds and speech. Again and again there are fast, intense light changes (including flickering and flashing). Strobe-like lights are used in individual scenes. In addition, the room is almost completely darkened several times.

A Hole in Waiting
There is a dark lighting in the room almost the whole time and shadows are used. Different shades of light (red, blue, white, yellow, pink, purple) are used. There are several identical props, each with two red LEDs attached. Stage fog is used at the beginning.

In one scene, the stage is completely darkened and a performer dances with props that glow red and white, partially blinding the audience. Afterwards, the stage is suddenly brightly lit and a short scene of complete silence follows. Later, the room is again almost completely darkened.

At the beginning, sounds are produced on a self-made instrument made of a bucket, rope and water. Several times clapping, drumming, clicking and knocking sounds occur. Often different sound tracks (live and on tape) of different rhythms, sound qualities (including reverb effects), spoken and sung language overlap. Text is spoken over music. In one scene, a stage element is lowered with a squealing sound. Later, electronic music reminiscent of siren sounds is used over several minutes.

At one point, one of the performers falls stiffly to the floor, face forward, in a controlled manner.

DARKMATTER
The performance works with a dark basic mood as well as strong light and sound effects. Electronic music is playing almost continuously, creating a gloomy, restless mood. Among other things, the following sound effects are used: shrill, discordant sounds, rhythmic breathing, singing, high-pitched sounds, loud droning, sirens, disturbing noises, reverberation, voice eaters (intermittent; for speech and laughter), water and bird noises. In addition, loud bass tones and strong vibrations can be heard and felt several times for a few minutes. At one point there is an abrupt silence of about three minutes.

After the first scene of the play, the stage space is completely darkened (including the emergency exit lights, which are manually held closed by staff). The scene lasts just under ten minutes, with the complete darkness being interrupted again and again by individual lighting effects (cold purple light behind the fabric panels stretched on the back wall, or a faint spotlight on a performer). Flickering light, flashes of light or short blacks are used several times; strobe light is also used, especially in a scene lasting several minutes, strobe light is used repeatedly for several seconds.

Stage fog is used in several scenes. Twice, large moving images are projected on fabric panels at the back of the stage: first a close-up of a tongue, later a nude torso (both covered with black paint). In addition, large amounts of black paint are used on stage to look like blood.

At the beginning of the piece, the performers wear mirrored face masks, then contact lenses on one eye throughout the piece, making the eyes appear white. Later, acrobatic climbing elements are used at the edge of the audience space. In some scenes, the performers come very close to the edge of the stage, so that no minimum distance is maintained. In addition, the performers wear high latex boots for a longer sequence, so that latex noises can be heard. Incense is used.

The Way You Look (at me) Tonight
There are two different areas for spectators to choose their seats: on a small triple-row platform or on the stage. The first row of the platform is at ground level. Chairs with backs, cushions on the floor, beanbags and wheelchair seats are available. Physical contact with the performers may occur on the stage, especially in the center of it.

One 5-minute scene of the play takes place in complete darkness. In addition, there will be large-scale darkening in further scenes. Projections are shown on three walls of the stage space, some of them in flickering quality. In addition, strongly vibrating lines are projected in a scene lasting about 4 minutes. On the sound level, noise or droning, squeaking noises, reverberation, echo as well as the overlapping of speech and sound will be used in individual scenes: In one scene, all visitors are asked to participate in two visual exercises. In addition, individual visitors are involved in holding or passing on objects on the stage. In addition, physical contact with the performers may occur. All interactive elements are voluntary.

IS THIS A BLACK?
The performers often come very close to the audience, which means that the minimum distance cannot be maintained.

The room is completely darkened several times, even over longer periods of time. In addition, ominous noise and hissing sounds are used in a dark scene at the beginning of the piece. Several times, a banging sound is created by falling or thrown chairs. In one scene, a projection with sudden image changes is used, the intensity of which increases to strobe-like effects.

In the same scene, the spoken text is overlaid by loud music. In addition, loud bass tones and strong vibrations can be heard and felt several times for a few minutes. At one point, one of the performers jumps up and down on the stand, creating noises and vibrations. In the last scene of the piece, all the performers speak and shout in confusion. At the same time, loud, rhythmic music is used. Finally, the performers climb over the chairs and the audience.

Esprit bavard
The performer approaches the audience several times, so that the minimum distance cannot be maintained. In addition, she touches individual spectators and sometimes performs actions on her own body with their hands. Sometimes she kneels or sits down next to them.

The admission already takes place in a dark lighting situation and under time pressure. At the beginning, the room is only lit by flickering plastic tea lights. There is a spotlight that strongly dazzles the audience in one scene.

On the auditory level, several sound tracks, sounds and sound qualities overlap several times. Elements used include: shrill sounds, atmospheric music, voices (some whispering), various noises, beat- and bass-heavy music, acoustic music, singing, and isolated sudden screams (some in the audience space).

ⵣ YAZ[Z] (RHYMES)
At the beginning, the piece is dark and quiet. Later, music and sounds are used in individual scenes: spherical sounds, loud noise, the sound of a cordless screwdriver, and two scenes with beat-heavy music. On stage, palm-sized stones are moved and dropped. Stone throwing, also in the direction of the audience, is implied. In addition, acrobatic elements (e.g. jumps, headstands) are used. A stage element (long wooden beam) is turned quickly in a circle for several minutes, bobbing up and down. This is accompanied by loud, beat-heavy music.

Metamorphoses
The piece requires a high level of attention to the perception of the text: Parts of the text are projected, but not always also spoken or presented in the classic surtitle form. Instead, the projection of the surtitles is used several times as a graphic element (e.g. rotated by 90 degrees, projected onto the stage floor) with which the performers interact. In addition, the production works with the audience's ability to imagine, which is explicitly challenged several times with "picture this" descriptions.

At the beginning, the room is completely darkened for a few seconds. Then, for the entire course of the play, the room remains in almost complete darkness, except for a few spots on the stage. In one scene, the light from a spotlight on the left side of the stage flickers for about a minute. Towards the end, there is a rapid projection change lasting about 1 minute.

At the beginning there are sequences in complete silence. Over further parts the piece is sound intensive: voice distortion, reverb and loops / repetitions are used. The following sounds, among others, are used: shimmering, high-pitched and bass-heavy tones, electronic music, mechanical sounds, natural sounds (e.g. the splashing of water drops), pulsating beats, hissing, shrill and howling sounds, imitated animal sounds (barking, cackling, howling, mooing, birdsong), helicopter noises.Atmospheric sounds are also used, some of which create an eerie atmosphere. In phases, loud electronic, bass-heavy music is used. Often the sound level and speech overlap.

Towards the end, helicopter sounds and searching spotlight movements create a scene that can be reminiscent of a crime scene.

How to Fail as a Popstar
The piece works with frequently changing music, some of which is beat-heavy and/or overlays the text. In one scene, voice distortion is used. Several times there are pulsating light changes, including colorful spotlights on both sides of the stage. There are light reflections on costumes and makeup. The room is repeatedly partially or completely darkened for a few seconds.

Carte Noire nommée Désir
Food and liquids are poured over the performers (sometimes on their bare skin) and thrown at them and the audience. In addition, large amounts of soap foam, strong-smelling bleach, stage fog, and cigarette smoke are used, among other things.

In some scenes, the performers depict violent acts on one another or on naked child dolls. In addition, masturbation and childbirth scenes are shown. Body fluids (saliva, artificial blood) are used in several scenes. One performer is wearing white contact lenses so that her pupils are no longer visible.

For several minutes there are strong strobe lights with loud disharmonic music. Multiple flashing light tubes are also used. Over a longer period of time, the stage is completely darkened except for a few light sources on the floor. In addition, a strongly rotating stage element (tire) is used in one scene.

Information on the remaining pieces are still to be added.

Journey To A Better World
The room is illuminated by daylight and additional discreet lighting. Large parts of the floor are raised with foam mats by about 1 cm and thus separate themselves from the paths. Various pieces of furniture and movable walls are distributed over large parts of the room. Soft, atmospheric music plays in the background.

Galactic Get Down
The session takes place in a completely darkened black tent. Various party music is played during the session.

Nunca Mais Abismos
The space is darkened and can get hot/humid - depending on the weather.Ventilation equipment may be running, creating a draft and corresponding noise. 

The venue is darkened and can get hot/humid - depending on the weather - ventilation equipment may be running, creating a draft and corresponding noise. Lighting is dim and in various shades. Lamps on the floor sometimes produce rapid color changes. Part of the floor is covered with foil and there are objects (for example ropes) lying around. In addition, some ropes are stretched across the room at a height of about 1.5 to 2 meters. Charcoal and chalk are used.

Words Collect in My Mouth: All Is Fire and Flood
The space is darkened and lit by dim, warm light. In several places, pebbles and round, colorful glowing lamps lie on the floor. To keep the temperatures in the room comfortable, ventilation devices run throughout, creating a draft and corresponding sounds.

Fountain (:) Live
Changing music is played throughout, using spherical, beat-heavy and electronic sounds, as well as rhythmic drumming and percussion, among others. The film worked over several scenes with animations, especially of liquids, as well as close-ups of various materials and textures. In addition, the film uses rapidly changing lights several times, which are shown falling longitudinally like raindrops and are reflected on the dance floor. The live performers move through the audience at times, but without touching the visitors.

The Mountain and Other Tales of She Transformed: Hannah Buckley
The room is dimly bathed in warm red and orange light. Largely still or slowly changing images in the same color spectrum are projected onto the back wall. Stage fog made of dry ice is used. A sound carpet of various natural sounds runs throughout. In several scenes, the performer repeatedly stomps rhythmically on the floor or slaps her latex costume with her hands, creating a clapping sound.

CHIKANISHING CREEK: Brian Solomon
The encounter lasts between 5 and 10 minutes. The room is darkened and subtly lit in spots. At one point a mirror is illuminated. A fan is running, creating a draft and corresponding sounds. In addition, sounds of a river and North American blues music are played. Interaction or physical contact (e.g. holding hands) with the performer can occur, whereby it can be signaled that no physical contact is desired. Soap bubbles are used. Many different materials are used in the room, especially natural materials (e.g. twigs and stuffed animals). There are cushions on the floor. For blind and visually impaired audiences, a tactile tour in English is possible, if necessary also in German, French or Spanish.

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. 

Is This A Room
Police, carrying of firearms

Sinfonie des Fortschritts
Addressing of discriminatory (classist, racist and anti-slavic) experiences 

A Hole in Waiting
Death

DARKMATTER
Addressing death and enslavement (Maafa), ableism, nudity 

The Way You Look (at me) Tonight
Addressing of discriminatory (ableist, sexist and racist) experiences

IS THIS A BLACK?
Nudity, racism, addressing colonialism and enslavement, depiction of sexual acts, violent fantasies

Esprit bavard
Ableism, saneism, ableist, audistic and saneistic use of language, suicide

Metamorphoses
Addressing death, the dismemberment of a corpse, rape, (sexualized) violence and boundary violations without scenic depiction of the same / Symbolic depiction of nudity

How to Fail as a Popstar
Addressing of discriminatory (racist, transphobic and queerphobic) experiences 

Carte Noire nommée Désir
Ableism, racism, sexism, nudity, dolls, depiction of physical violence

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.

Olivia Hotz
Mobile +49 176 587 685 11 (Signal, Telegram, WhatsApp)
Landline +49 531 1234 489
E-Mail barrierefreiheit@theaterformen.de