Accessibility

Contact

The information on the accessibility of the 2024 Festival edition will be updated continuously. For needs on-site, suggestions related to improvement as well as clues on barriers, please contact:

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

Venues

Großes Haus

Staatstheater Großes Haus – External view
Staatstheater Großes Haus – External View (© Moritz Küstner)
Staatstheater Großes Haus –  Auditorium
Staatstheater Großes Haus – Auditorium (© Björn Hickmann)
Louis-Spohr-Saal in the Staatstheater Großes Haus
Louis-Spohr-Saal in the Staatstheater Großes Haus (© Peter Eberts)

Travelling by car

The address is Am Theater. There are four barrier-free parking spaces directly at Großes Haus. Two can be used throughout the day, the other two can only be used between 19:00 and 00:00.

Travelling by public transport 

The nearest bus stop to Großes Haus is "Staatstheater" and is frequented by the lines 230, 411, 412, 413, 416, 418, 422 and 423. The walking distance is 150 m (approx. 2 min walk). The nearest tram stops are "Rathaus", frequented by the lines 1, 2, 3 and 4 as well as "Museumsstraße", frequented by the lines 4 and 5. In both cases, the walking distance is 500 m (approx. 5 min walk).

All buses are accessible. Most of the trams are also accessible and in the timetable there are indications on which trips there is a step entrance. The hotline for information on vehicle accessibility can be reached at (05 31) 3 83-45 54 or (01 60) 96 95 61 94.

Entrance area / Box office

A entrance without steps is not located centrally, but on the left side of the building. The double door is 75 cm/150 cm wide. It is locked and cannot be opened independently. There is a bell on the right. It can be used both for visits to performances and for the box office. It may take a few minutes for an employee to come to you. The bell does not have an intercom system.

There is a strong echo in the foyer of the box office. Three low steps have to be overcome to enter. The entrance from the foyer leads through five doors, none of which is automatic. 

The ticket counter is not height-adjustable and its height is 95 cm. The auditorium plan can be viewed by visitors on a screen and can be enlarged to a limited extent.

Elevator

There is an elevator in the audience area. It is located on the left side. The door is 85 cm wide.

Auditorium

With the exception of the few seats for wheelchair users, the auditorium can only be entered by stairs with steps. Step-free access is possible to three seats located on the right side of the wheelchair spaces.

Weelchair spaces  

For wheelchair users, both ticket sales on site and admission to the performance take place separately, as the house is only accessible step-free through a separate entrance. A step-free entrance is located on the right side of the auditorium. The wheelchair seats are located centrally in the back.

Alternative seating

Alternative seating in the form of beanbags will be installed as part of the Festival Theaterformen. These seats can be freely booked in advance as "beanbag seats".

Toilets 

There are toilets available on every floor. The sinks in the restrooms are generally not accessible from below. The door widths of the other restrooms are 80 cm. They are therefore suitable for people who use a walker.

One accessible toilet is located on the level of the stalls and is in close proximity to the elevator.

Kleines Haus / Aquarium

© Peter Eberts
Staatstheater Kleines Haus – External view
Staatstheater Kleines Haus – Hallway and the way to the Aquarium. (© Peter Eberts )
Staatstheater Kleines Haus – Auditorium (© Volker Beinhorn)

Travelling by car

The address is Magnitorwall 18. There is a barrier-free parking space in front of the stage entrance of the Kleines Haus in Magnitorwall street. The parking space is marked by a sign, there is no floor marking.

Travelling by public transport 

The nearest bus stop to the Großes Haus is "Staatstheater" and is frequented by the lines 230, 411, 412, 413, 416, 418, 422 and 423. The walking distance is 150 m (approx. 2 min walk). The nearest tram stops are "Rathaus", frequented by the lines 1, 2, 3 and 4 as well as "Museumsstraße", frequented by the lines 4 and 5. In both cases the walking distance is 500 m (approx. 7 min walk).

All buses are accessible. Most of the trams are also accessible and in the timetable there are indications on which trips there is a step entrance. The hotline for information on vehicle accessibility can be reached at (05 31) 3 83-45 54 or (01 60) 96 95 61 94.

Entrance area / box office 

People can enter the building through a revolving door in the centre front as well as several doors on the side of the entrance. The foyer is accessible at ground level and there is a small threshold in each case. The door widths are 100 cm in each case.

There are also various seating and standing options in the foyer.

The box office counter is located on the left near the entrance doors and the height is 115 cm. An auditorium plan in A3 size is located on the right side of the box office booth.

Elevator

The elevator is located in a stairwell and is accessible step-free. The door is 85 cm wide.

Auditorium 

The stalls can be accessed through two doors (left and right). The 1st balcony is also reached through two doors (left and right). All doors are 105 cm wide.

Weelchair Spaces + Alternative Seating

During the Festival Theaterformen, wheelchair spaces and beanbags will be available in the 1st row and/or in the stalls on the left and right.

Toilets

In order to reach the restrooms, the way from the auditorium leads through a non-automatic, heavy door which is 95 cm wide. After that, three steps have to be climbed down. There are handrails on the right and left, each at a height of 90 cm.

The entrance to the accessible toilet is located in a corridor on the level of the staircase. Directly at the stair entrance there is a wide mirror front on the left side. The stall is located in a separate room. This is not directly indicated from the hallway. The entrance to the stall is through a non-automatic, heavy door which is 90 cm wide. The height of the door handle is 95 cm. It opens outwards.

Wheelchair users can access the barrier-free toilets on the parquet floor via the elevator. A key is required to unlock the floor. Please ask a member of staff for the key. 

Theater in der Twete (formerly LOT-Theater)

Travelling by car

The address is Kaffeetwete 4a. There are no free parking spaces. The nearest free parking spaces are on Inselwall (distance: 500 m), on Neuer Weg (distance: 500 m) and on Maschstraße (distance: 1 km).

Paid parking is available, for example, in the Karstadt parking garage (open 24 hours), in the Steinstraße parking garage (open 24 hours) and in the Welfenhof parking garage (open 7-24 hours) in sufficient numbers.

Travelling by public transport

The nearest bus stop is "Altstadtmarkt" and is frequented by the lines 411, 412, 416, 418, 422 and 443. The walking distance is 250 m (approx. 3 min walk). The nearest tram stop is "Radeklint" and is frequented by the line 4. The walking distance is 450 m (approx. 6 min walk).

All buses are accessible. Most of the trams are also accessible and in the timetable there are indications on which trips there is a step entrance. The hotline for information on vehicle accessibility can be reached at (05 31) 3 83-45 54 or (01 60) 96 95 61 94.

Arrival / Entrance area

The Theater in der Twete (formerly LOT-Theater) is located behind a driveway and not directly on the street. At the gateway to the theatre through residential buildings, there is a curb of a roll-up door. This may pose a problem for wheelchair users. The way to the entrance of the building leads over a ramp with a low edge (2-3 cm) and a gradient that is not suitable for wheelchairs (over 6%). The door of the entrance area has a ledge of 1-2 cm.

Box office

The height of the counter is low (height: 100 cm). The box office opens one hour before the performance.

Weelchair spaces + Alternative seating

The door to the auditorium has a ledge at the height of 1 cm. During the Festival Theaterformen the 1st row will be an accessible row. There will be a flexible placement of wheelchair seats and beanbags here.

Toilets

The toilet has limited accessibility. There are support folding handles and the door width is 80 cm.

Festival centre Haeckelsches Gartenhaus / Theatre park 

Travelling by car

The address is Am Theater. There are four barrier-free parking spaces directly at Großes Haus. Two can be used throughout the day, the other two can only be used between 19:00 and 00:00.

Travelling by public transport

The nearest bus stop to the festival centre is "Staatstheater" and is frequented by the lines 230, 411, 412, 413, 416, 418, 422 and 423. The walking distance is 250 m (approx. 4 min walk). The nearest tram stops are "Braunschweig Theaterwall", frequented by the line 3. It is approx. 240 m away (approx. 4 min walk). Furthermore there is the tram stop "Braunschweig Botanischer Garten" frequented by the line 3. It is approx. 400 m away (approx. 5 min walk).

All buses are accessible. Most trams are also barrier-free and the timetable indicates which journeys have step access. The hotline for information on vehicle accessibility can be reached on (05 31) 3 83-45 54 or (01 60) 96 95 61 94.

Further information will be given shortly.

Bar

The bar opens daily one hour before performance starts. Further information will be given shortly.

Alternative seating

There is alternative seating in the festival centre. Since the festival centre is still in the process of being developed, currently t it is not possible to give detailed information about it. This page is continuously updated and supplemented with information if required. 

Toilets

There will be four toilets und one accesible toillet in the festival centre.
The nearest toilets are located in the Großes Haus and Kleines Haus of the Staatstheater.

There are toilets available on every floor of Großes Haus. The sinks in the restrooms are generally not accessible from below. The door widths of the other restrooms are 80 cm. They are therefore suitable for people who use a walker. One accessible toilet is located on the level of the stalls and is in close proximity to the elevator.

In order to reach the restrooms at Kleines Haus, the way from the auditorium leads through a non-automatic, heavy door which is 95 cm wide. After that, three steps have to be climbed down. There are handrails on the right and left, each at a height of 90 cm. The entrance to the accessible toilet is located in a corridor on the level of the staircase. Directly at the stair entrance there is a wide mirror front on the left side. The stall is located in a separate room. This is not directly indicated from the hallway. The entrance to the stall is through a non-automatic, heavy door which is 90 cm wide. The height of the door handle is 95 cm. It opens outwards.

Relaxed Performance

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.

The Relaxed Performance offer applies to all performances except SOLILOQUIO (I woke up and hit my head against the wall) by Tiziano Cruz at Staatstheater Kleines Haus, Hewa Rwanda by Dorcy Rugamba and Wir verbünden uns! at Staatstheater Großes Haus.

During the festival, a Relaxed Area will be set up in the foyer of the Kleines Haus and in the Großes Haus (in the 2nd rank foyer) of the Staatstheater Braunschweig. People can spend time there before, during, or after the performance.

DGS

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

In 2024, interpreters for German spoken and sign language will be on site for selected events. For interpretation, we work together with deaf and hearing teams.

German Sign Language To Go

Interpreters for Spoken German and German Sign Language (DGS) To Go will be on site for selected performances in the respective venues and can be called upon spontaneously. They help Deaf and hearing festival visitors to get in touch with each other. If you would like to have a chat, simply speak to the interpreters. 

This offer applies to before and after the performances of SIGNING/SINGING by Daniel Kotowski and Autoritratto in 3 atti von Diana Anselmo at Staatstheater Kleines Haus, Aquarium (Mo 17.06. und Tue 18.06. 17:30 – 20:30) and Dis_Lecture on Something very special by Dalibor Šandor (Fr 14.06. and Sat 15.06. 16:00 – 19:00).

Events with Interpreting into DGS

Mo 17.06 18:30 – 19:45
Tue 18.06 18:30 – 19:45
The performance Autoritratto in 3 atti by Diana Anselmo at Staatstheater Kleines Haus, Aquarium will be interpreted from Spoken English and Spoken Italian into German Sign Language (DGS).

Fr 14.06. 17:00 – 17:50 
Sat 15.06. 17:00 – 17:50
The performance Dis_Lecture on Something very special by Dalibor Šandor will be interpreted from Spoken English into German Sign Language (DGS) as well as into German Easy Language.

Audio Description

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.

Following events take place with German audio description WITHOUT tactile tour:

Fr 21.06. all slots from 19:00 – 21:00 
Sat 22.06. all slots from 15:00 – 17:00
Sun 23.06. all slots from 15:00 – 17:00
Magic of the Hands
Jo Bannon
Staatstheater Großes Haus, Louis-Spohr-Saal

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

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

Easy Language

Information about the festival in easy language can be found here.

Easy language is a very easy-to-understand language and is mainly used for people with learning difficulties. But other people also benefit from easy language. For example, those who are learning German. Easy language makes complex content understandable and accessible. The aim is to give all visitors an equal cultural experience and to ensure that everyone can understand the plot and message of the play.

For selected performances at the festival, we offer interpretation into easy language. The text spoken on stage is interpreted live into easy language and can be heard via headphones. For the interpretation, we work with professional interpreters for easy language.

The following performance will be interpreted into German easy language:

Fr 14.06. 17:00
Sat 15.06. 17:00
Dis_Lecture on Something very special
Dalibor Šandor

Sensory Triggers

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.

HATCHED ENSEMBLE

Visual stimuli
The room is predominantly dark, with a few spotlights illuminating the stage.
The lighting design is relatively constant without abrupt changes. At one point it is briefly completely dark.
Reflections of individual metal objects can dazzle the audience.
For about 1 minute, many bodies rotate quickly on stage at the same time. 

Acoustic stimuli
Repeated rustling of tulle in combination with the rattling of wood for several minutes. Tapping of pointe shoes on the stage.  
Mostly classical music is playing. There are occasional background noises. In the course of the play there is rhythmic music with lots of beeping, whistling and rattling. There are also noises such as ringing bells, metallic clanging and clacking.

In the second half, the lyrics, vocals, music and background noises overlap. There are also more loud shouts. Towards the end, there is communal rhythmic banging on the stage.

Matriarchy

Sensory stimuli
The performance takes place in two locations. The room is changed together.

Visual stimuli
The room is first brightly lit and then darkened to play a film. Increased soft light changes from dark to light.
Briefly low smoke formation on the stage.

Acoustic stimuli
No music at the beginning, crackling and popping and metallic sounds in the stage area. Towards the end of the play there is rhythmic music and loud screaming to music.

Interaction with the audience
Objects are presented to the audience in the front row for them to smell.
Performers stand directly in front of the audience and look them in the eye.
Ribbons fall from the ceiling, sometimes into the audience. Ribbons are striked in the air directly in front of the first row.

SPARTACUS. Love in the time of plague

Visual stimuli
The stage constantly changes from brightly lit to dimmed light. In the background is a screen on which text and film clips are shown.
In the last scene there is warm, dim light.

Acoustic stimuli
Repeated brief overlapping of several dialogs. Loud clanging of metal grilles throughout the piece. Increasingly, over several minutes of beeping in the background. Sudden loud singing.
Sounds of vomiting.
In the last scene: live music with violin and accordion and singing. Loud cheering, whistling and clapping.

Combination of visual and acoustic stimuli
4x sudden thunder sounds and disturbing noises with flickering light for approx. 30 seconds.

Interaction with the audience
In the last scene, two people from the front row are brought on stage. They are dressed in costumes. This includes a large headdress. The scene is acted out with the two people from the audience. The people are not chosen spontaneously, but have already been selected and informed before the festival.

Smell
The stage is covered with straw. 

Soliloquio (I woke up and hit my head against the wall)

The performance takes place in two locations. The room is changed together. The first location is outside. There are no seating facilities there. The path to the second location is approx. 450m.

Visual stimuli
The room is dark. Spotlight on the performer. In the background is a light blue screen on which black lettering appears regularly. The screen is also used to show photos and videos.
In the second half: Rapidly changing video sequences with varying contrast. One sequence with a flickering effect because the blue background quickly alternates with complete darkness.
It is completely dark 3 times for a few minutes.

Acoustic stimuli
Use of rhythm instruments such as drums and rattles. Superimposition of speech and voices. Loud whispering over the loudspeakers.  
Atmospheric music with increasing sounds of sheep.

Interaction with the audience
A performer embraces the audience at the entrance. 

The Filipino Superwoman Band

Visual stimuli
The room is dark, except for a red screen in the background.
Complete darkness for a few seconds at a time.
Repeated color changes from screen and light to colors such as red, blue, violet and white.
3 times fast flashing light with color change over several minutes. Sometimes a stroboscope-like effect is created.
At the end, colorful moving disco ball light point projection.

Acoustic stimuli
Loud singing sometimes turns into shouting. The music is occasionally loud.
At the end: loud high-pitched beep.

Interaction with the audience
Inviting the audience to sing along, moving arms, standing up and directly addressing the audience and individual audience members.
Performers walk through the audience in the dark. 

Smell of Cement

Visual stimuli
The stage is illuminated with a spotlight in the center. Slight dust formation due to the sanding of wood.
In one sequence, it looks as if the head is being hit on the wooden panel. The body suddenly goes limp once.
Repetitive, rhythmic, intense and powerful hammering on a wooden board.

Acoustic stimuli
Predominantly loud street noises such as cars, horns and sirens. There is also hammering and grinding.
Occasional atmospheric music with howling, sometimes with singing. Videos are projected onto a screen.

Odor
Smell of wood

Additional notes for the presented video a "Skewed Conversation"
At one point, fast, shaky camera work, flickering video effects. Blurred overlapping of images.
A person breaks a pipe on their head. 

SIGNING/SINGING

Acoustic stimuli
Loud shouting and clapping on bare skin.

Visual stimuli
Sudden twitching. 

DIS_Lecture on Something very special

Visual stimuli
The stage is evenly lit. Video sequences are played on a screen.

Acoustic stimuli
Scary music with background noise at the end.

Teenage Songbook of Love and Sex

Visual stimuli
Dim light, always no or only little light. Colored light. Blue flashing light. Sudden blackout at the end. Complete darkness with slight passing points of light on the performers.

Acoustic stimuli
Loud choral shouting, cheering.

Interaction with the audience
Audience is asked to repeat. Individual members of the audience are addressed.

Magic of the Hands

Haptic stimuli
The audience takes off their shoes and puts on soft hotel slippers.

There are objects of different sizes and surfaces to touch.

Cuddly toys, paintbrushes and brushes, decorative objects, plastic hands, animal bones and skulls, metal, porcelain, wood, plastic, and rubber.

Acoustic stimuli
Rustling of fabric, metallic noises, noises with cardboard, smacking.

ASMR sounds amplified via headphones.

Soft relaxation music plays throughout the performance.

Interaction with the audience
The audience is guided by a performer through various stations in the room. The audience receives direct instructions via headphones.

Hewa Rwanda

Visual stimuli
Dark room, the stage is dimly lit. Large video screen with dim projection in the background.

Acoustic stimuli
Quiet guitar music that is spoken and sung over.

SPY GIRLS

Visual stimuli
It is dark in the room. There are individual bright light sources (neon tubes) and many small screens.

A screen on which a movie is shown (rotating motion). Fast scrolling, fast cuts, change from light to dark, distorted, rapidly changing images with disturbing graphics, shaky cell phone videos.

Large video projection in the background. Fast scrolling on the screen, shaky cell phone videos. Live camera.

Acoustic stimuli
Telephone ringing, rattling, rhythmically booming bass, with a voice over.

Loud background noises like squeaking, scratching, creaking. Shooting noises and explosions in videos.

Loud electronic music with crunching, beeping echoes and bass. Loud beeping at different heights. Screaming.

A screen is smashed with a bat.

Interaction with the audience
Audience members in the front row are invited to push a performer on an office chair.

Performers walk through the audience and offer them canned food and show a picture of a penis. 

The Last Supper

Note: These notes have only been compiled on the basis of a talk with the production team and are therefore unfortunately incomplete.

Visual stimuli
Images are projected onto a screen - quick cuts and fast fade-ins of photos. Dim lighting with individual spotlights. Short blackout at the beginning. Strobe light.

Acoustic stimuli
Dishes are suddenly thrown, clattering loudly on the floor. Background music.

Shouting as part of an argument. Loud electronic music with lots of bass, vibration. A microphone amplifies the sounds of dishes and food.

Odor
There will be hot food (meat, potatoes and quiche), so it may smell like hearty food.

Interaction with the audience
Parts of the audience sit down with the performers at a table on stage and eat there.

Meat and vegetarian dishes are served, there is no information given about allergens. A live camera films the audience that eats.

There is further interaction with these people. One person's future is predicted by reading tarot cards. Another person is asked to dance on stage. The performer and spectator touch each other while dancing. Bread rains from the ceiling above the table.

Content Notes

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.

HATCHED ENSEMBLE

Naked upper bodies and hanging bodies attached to a leash.

Matriarchy

Dead (taxidermied) animals: animal skins, antlers and wings are presented.
Cripping up: performer imitates a bent back (back is stuffed), imitation of a walking disability.
Dealing with racism towards indigenous people.

SPARTACUS. Love in the time of plague

Thematization and depiction of suicide and self-harm, with the help of fake blood.
Clinic setting: monitored intake of medication. Depiction of physical and psychological violence in a psychiatric ward, e.g. rough touching, locking a person in a cage.
Cripping up: Imitation of learning disabilities.
Representation and reproduction of queer hostility.
Reproduction of trans hostility, e.g. misgendering.
Sexualized violence: Translated representation of rape.
Naked bodies on stage. Representation of trans people by cis people.

Soliloquio (I woke up and hit my head against the wall)

Description of political persecution and racism.
Death, illness and murder are increasingly used as metaphors.
Explicit description of murder and thematization of death.
Projection of dripping blood on a screen.
Naked upper body and sparsely clothed lower body. In the last 10 minutes, the performer is completely naked.

SIGNING/SINGING

Lightly clothed body.
Short translated presentation of oral sex.

Autoritratto in 3 atti

Addresses audism and ableism.
Stripping down to underwear. Mention of the Holocaust and gas chambers.

Teenage Songbook of Love and Sex

Thematizing of sex, sexuality, swear words, slutshaming, sexualized violence, abusive relationships, queer hostility and age difference in relationships.

DIS_Lecture on Something very special

Thematizing of ableism and fear.
Reproduction of ableist language.
Partly graphic horror movie posters. 

The Last Supper

Religion, negative experience with religion. Trans hostility. Death. Hunger. Poverty. Food in large quantities. Thematizing experiences of racism.

SPY GIRLS

Performers masked with balaclavas.
 People move around in the dark with flashlights.

Thematization of the Russia-Ukraine war.

Reproduction of fascist statements.

Topic of war: Images and videos of soldiers and war zones, images of explosions.

Description of violence, murder, and war.

Military, uniforms, firearms, masked soldiers.

Thematization of rape. Catfishing.

Chat messages with sexual content are vehemently demanded.

Pictures of penises are shown on the screen for several minutes, discussed in detail and in some cases their appearance is devalued.

Close-ups of food. Death.

Contact for Questions on Content Notes

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

Alternative Seating

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 Haeckelsches Gartenhaus. 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.

Surtitles

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: 

English Surtitles

Fr 14.06. 18:30 
Sat 15.06. 18:30
Soliloquio (I woke up and hit my head against the wall)
Tiziano Cruz
Staatstheater Großes Haus

Fr 14.06. 17:00
Sat 14.06. 17:00
Dis_Lecture on Something very special
Dalibor Šandor

Mo 17.06. 18:30
Tue 18.06. 18:30
Autoritratto in 3 atti
Diana Anselmo
Staatstheater Kleines Haus

Tue 18.06. 20:00
Wed 19.06. 21:00
The Last Supper
MEXA
Staatstheater Kleines Haus

Thu 20.06. 18:30
Fr 21.06. 18:30
Hewa Rwanda
Dorcy Rugambo

Sat 22.06. 18:30
Sun 23.06. 18:30
SPARTACUS. Love in the time of plague
Jakub Skrzywanek 
Staatstheater Großes Haus

German Surtitles

Fr 14.06. 18:30
Sat 15.06. 18:30
Soliloquio (I woke up and hit my head against the wall)
Tiziano Cruz
Staatstheater Großes Haus

Mo 17.06. 18:30
Tue 18.06. 18:30
Autoritratto in 3 atti
Diana Anselmo
Staatstheater Kleines Haus

Tue 18.06. 20:00
Wed 19.06. 21:00
The Last Supper
MEXA
Staatstheater Kleines Haus

Wed 19.06. 19:00
Thu 20.06. 19:00
Matriarchy 
Pauliina Feodoroff
Staatstheater Großes Haus

Thu 20.06. 11:00 & 19:00
Fr 21.06. 19:00
Teenage Songbook of Love and Sex
Ásrún Magnúsdóttir & Alexander Roberts

Thu 20.06. 18:30 
Fr 21.06. 18:30
Hewa Rwanda
Dorcy Rugambo

Fr 21.06. 20:30 
Sat 22.06. 21:00
SPY GIRLS
Magda Szpecht
Staatstheater Kleines Haus

Sat 22.06. 18:30
Sun 23.06. 18:30
SPARTACUS. Love in the time of plague
Jakub Skrzywanek
Staatstheater Großes Haus

Kulturschlüssel Braunschweig

Since 2023, we are taking part in the project "Kulturschlüssel Braunschweig" as a cultural donor. The Kulturschlüssel arranges for people who can not, or do not want, to participate in cultural events on their own due to a disability, volunteers who accompany them before, during and after the desired event.

For this purpose, we are providing a contingent of tickets (one reduced ticket per event and one free ticket for the accompanying person).

The offer applies to the following events:

Thu 13.06. 20:00
Fri 14.06. 20:30
HATCHED ENSEMBLE
Mamela Nyamza
Staatstheater Großes Haus

Wed 19.06. 19:00 
Thu 20.06. 19:00
Matriarchy 
Pauliina Feodoroff
Staatstheater Großes Haus

Sat 22.06. 18:30
Sun 23.06. 18:30
SPARTACUS. Love in the time of plague
Jakub Skrzywanek 
Staatstheater Großes Haus

Please register via email to Felix Laus, Project manager Kulturschlüssel Braunschweig: f.laus@kulturschluessel-bs.de