Accessibility
General Info
New Accessible Services
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!
Contact for Questions on Accessibility
Olivia Hotz
Mobile +49 176 587 685 11 (Signal, Telegram, WhatsApp)
Landline +49 531 1234 489
E-Mail barrierefreiheit@theaterformen.de
Großes Haus
Travelling by Car
The address is Am Theater. There are four handicapped parking spaces directly at the Großes Haus. Two can be used throughout the day, the other two can only be used between 7 p.m. and midnight.
A step-free entrance is not located centrally, but on the left side of the building (door width double door: 75 cm/150 cm). It is locked and cannot be opened independently.
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, 423. The walking distance is 150 m. The nearest streetcar stops are "Rathaus", frequented by the lines 1, 2, 3, 4, and "Museumsstraße", frequented by the lines 4, 5. In both cases, the walking distance is 500 m.
All buses are accessible. Most of the streetcars 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
There is a strong echo in the box office foyer. Three low steps have to be climbed 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 (door width: 85 cm).
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". In addition, there are several alternative seating options in the anterooms of the auditorium.
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
Travelling by Car
The address is Magnitorwall 18. There is a disabled 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, 423. The walking distance is 150 m. The nearest streetcar stops are "Rathaus", frequented by the lines 1, 2, 3, 4, and "Museumsstraße", frequented by the lines 4, 5. In both cases the walking distance is 500 m.
All buses are accessible. Most of the streetcars 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.
Foyer
People can enter the building through a revolving door in the center 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.
Box Office
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 (door width: 85 cm).
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 the 1st row will be an accessible row. There will be a flexible placement of wheelchair seats and beanbags in this area.
Toilets
In order to reach the restrooms, the way from the auditorium leads through a non-automatic, heavy door (width: 95 cm). 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 (width: 90 cm / height of door handle: 95 cm). It opens outwards.
LOT-Theater
Travelling by Car
The address is Kaffeetwete 4a. There are no free parking spaces. The nearest free 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, 443. The walking distance is 250 m. The nearest streetcar stop is "Radeklint" and is frequented by the line 4. The walking distance is 400 m.
All buses are accessible. Most of the streetcars 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 LOT Theater is located behind a driveway and not directly on the street. At the gateway to the theater 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.
Bar
There are beverages available. The font on the menu is small. (Counter height: 115 cm)
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.
Surtitles
The following performances will be surtitled:
English Surtitles
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
German Surtitles
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
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
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
Relaxed Performance
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
A GATHERING IN A BETTER WORLD
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.
Alternative Seating
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".
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. 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.
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.
DARKMATTER
Strobe lights and stage fog are used. In addition, the piece is very sound intensive.
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 room is darkened (almost) completely on several occasions, 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, increasing in intensity to strobe-like effects. In the same scene, the spoken text is overlaid with loud music. In the last scene of the piece, all the performers speak and shout in confusion. At the same time, loud, rhythmic music is used. At the end, the performers climb over the chairs and the audience.
ⵣ YAZ[Z] (RHYMES)
For the most part, the piece is dark and quiet. Music and sounds are used in individual scenes: spherical sounds, loud noise, and two scenes with loud, beat-heavy music. On stage, palm-sized stones are moved and dropped. Rock throwing, including towards the audience, is suggested. A stage element (long wooden beam) is rotated quickly in a circle for several minutes. 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) which the performers interact with. 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. After that, the room remains in almost complete darkness for the entire course of the play, except for a few spots on the stage. Towards the end, there is a rapid projection change lasting about 1 minute.
At the beginning there are sequences in complete silence. Throughout further parts, the piece is sound-intensive: voice distortion, reverberation and loops / repetitions are used. Atmospheric sounds are also used, which partly create an eerie mood. In phases, loud electronic, bass-heavy music is used. Often the sound effects and speech overlap.
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.
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.
Is This A Room
Police, carrying of firearms
Sinfonie des Fortschritts
Addressing of discriminatory (classist, racist and anti-slavic) experiences
The Way You Look (at me) Tonight
Addressing of discriminatory (ableist, sexist and racist) experiences
IS THIS A BLACK?
Nudity, Racism
Esprit bavard
Ableist, audistic and sanist use of language, suicide
Metamorphoses
Addressing of violence and boundary violations without scenic representation of the same / Symbolic representation 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.
Contact for Questions on Content Notes
Olivia Hotz
Mobile +49 176 587 685 11 (Signal, Telegram, WhatsApp)
Landline +49 531 1234 489
E-Mail barrierefreiheit@theaterformen.de