"Endeavour therefore to withdraw thy heart from the love of visible things, and to turn thyself to the invisible." – this quote by Thomas von Kempens stands at the center of Amoroso. This piece presents love in all of its different forms. Teatr Klucz from Poland presents happy and satisfied lovers as well as those who have loved and lost and been left behind. This poetic, dream-like, unhurried production brings together dance, improvisation and language in all of their diversity. The choreography was developed by the ensemble together with its artistic director Janusz Orlik. The production has already toured throughout Poland to great success and has received multiple awards. It is now coming to Germany for the first time.

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Performers Mariusz Józefiak, Jarosław Kubiak, Antek Kurjata, Daniel Laskowski, Bartosz Pawłowski, Lidia Piskorska, Karol Solski, Magdalena Szalbierz, Arkadiusz Żmijewski Direction, Set design, Music arrangement Janusz Orlik Choreography Janusz Orlik with the ensemble of Teatr Klucz Choreographer’s assistant Antek Kurjata Costumes Agnieszka Ostrowska Light design Arkadiusz Kuczyński, Janusz Orlik Production ZAMEK Culture Centre in Poznań, Poland A performance produced by ZAMEK Culture Centre in Poznań as part of the Europe Beyond Access project, thanks to a grant from the Creative Europe programme.

No, you do not have to drink your own urine here! Otherwise, also keep this in mind: forget everything you have believed until now about resiliently dealing with existential challenges. In Bioluminescence, four disabled artists ultimately come together to create an opulent landscape of sound in the post-apocalypse. They cast magic spells to honor their disabled ancestors and to change the world around them. With humor, pop music and Patricia the turtle, Criptonite reflects on what survival really means.

The performance includes a 30-minute prologue for disabled audience members and their support persons. The prologue is part of the performance and includes a touch tour, pre-show access and early boarding. The performance begins 30 minutes later for non-disabled audience members.

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Artistic Co-Direction & Performance Nina Mühlemann, Edwin Ramirez Development & Performance Flor Adam Méchain, Roy Fischer Dramaturgy Alexandrina Hemsley Dramaturgy & Audio Description Noah Mundinger Audio Description Assistance & Performance Brianne Deproose Choreography Alessandro Schiattarella Production Management Laeticia Blättler (Moin Moin Productions) Production Assistance Pauline Della Bianca (artFAQ Rundlauf) Scenography Theres Indermaur Costumes Nicole Frei Costume Assistance Denisa Svachova Sound Design & Sound Engineering Susanne Affolter Lighting Design Tina Bleuler, Patrik Rimann Technical Direction & Lighting Engineering Patrik Rimann Relaxed Performance Consulting Noa Winter Sound Effects Consulting Marquis' McGee Dramaturgical Consulting Tanzhaus Zürich Lisa Letnansky Photos Mayar El Bakry A co-production with Tanzhaus Zürich. Funded by Stadt Zürich Kultur, Kanton Zürich, Migros-Kulturprozent disframe, Max Bircher Stiftung, Stanley Thomas Johnson Stiftung, Stiftung Denk an Mich, Albert Huber-Stiftung. The guest performance is supported by Pro Helvetia - Swiss Arts Council.

Two young women tell their unadulterated, tender and inclusive truth about love and sexuality live on stage. Based on real stories, this documentary performance asks questions about first kisses, dates, sex and digital encounters, but most of all: do all bodies have the same access to love?

Bodies We Fall For is an accessible documentary performance about love in Cypriot Greek dialect and marked by creative forms of accessibility like integrated audio description, interpretation into sign language, surtitles, a tactile tour and multi-sensory elements. With tenderness, humor and unvarnished honesty, the piece deals with love in terms of accessibility, as a political, deeply personal and, at the same time, universal act of resistance.

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On stage Nayia T. Karacosta, roz, Inna Shparber Director and researcher Elena Sokratous Writer, researcher and performer Nayia T. Karacosta Poet, researcher and performer roz (Panayiota Zintili) Movement Eleftheria Sokratous, Stella Zannou Scenographer Julia Georgiadou Creative accessibility, touring producer Christos Papamichael Video introduction Panagiotis Paschalidis Editing Andreas Touloumis Lighting design Vassilis Peteinaris Poster design Evanthia Kepola German Sign Language interpretation Inna Shparber Communication Assistance Matilde Giannotti Production Ipogeia Skini Polichoros Sinergeio, Limassol, Cyprus Touring production liminal, Greece

What does love feel like? A question mark often emerges in the search for answers when it comes to love. Over the course of its investigation, the question mark meets a cloud floating around in love, a hormone in high spirits, a strawberry that loves sweets, and frustration. They get to know each other, approach each other, bend over backwards to be liked, get mad at themselves or melt at the sight of one or the other. After all, how does love work? Who can keep a clear head while the feelings are going crazy?

Following Das Spiel (The Game), Chaos of Emotions is Rachel Rosen’s second piece for Parkaue. With a great deal of humor and dedication, it explores self-love, the courage to ask questions and the curiosity to find out what you really love. The heartbreaking songs by Louis Edler that were written especially for this piece are guaranteed to get stuck in your head.

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With Jessica Cuna, Caroline Erdmann, Elisabeth Heckel, Jakob Kraze, Andrej von Sallwitz Direction, Composition Anton Berman Set Design Eva Lochner Costumes Vinzenz Schechner Lyrics Louis Edler Dramaturgy Leonie Graf Associate Direction Alexander Riemenschneider Artistic Engagement and Participation Shalün Schmidt Design Assistance Rózsa Sebo Assistant Direction Melina Archipoff, Isabel Nagel Stage Management Anne-Sophie Attinost Relaxed Performance Editor Miles Wendt Lighting Jaline Richter Stage Crew Hermann Meyn Sound and Video Sebastian Eßl Hair and Make-up Julia Habib, Michaela Wunderlich Props Sarah Kornettka Dressers Sabine Hannemann, Ute Seyer, Birgit Wilde Technical Direction Robert Schumann Set Construction Matthias Bade Head of Costume Sebastian Wahedi Funded by the Zero programme – Climate-Neutral Art and Culture Projects of the German Federal Cultural Foundation. Funded by the Federal Government Commissioner for Culture and the Media. The play "Chaos of Emotions" and its accompanying lyrics and compositions were created at Theater an der Parkaue during the 25/26 season as part of the "Love Lab" project, in which disabled and non-disabled artists collaborated on the themes of the body, love, and sexuality for young audiences.

Stimming is an action that we use to self-regulate – to soothe or stimulate ourselves and thus come into balance. Dancing is moving our bodies rhythmically, usually to music. Neuroqueer choreographer, performer and scientist Dr. Aby Watson believes that both are the same thing – and she is going to show you why.

In an artistic way, the performance explores the creative capacities of the neurodivergent “intuitive pattern making”. Watson improvises using vocal loops, synthesised music and rhythmic, repetitive movement for self-regulation. In doing so, she holds our attention as she shares her knowledge – an homage to stimming as a creative practice.

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Concept, choreography, text Dr Aby Watson Performance Dr Aby Watson, Aniela Piasecka Access companion Aniela Piasecka Outside eyes Aniela Piasecka, Mele Broomes Producing Vicky Wilson

Ex Silens combines movement, sound, space and technology in order to invite the audience to enter a radically alternative world of the senses. Marco Donnarumma has created a ritual that manages to completely reorganize our senses. Music and light create trance-inducing waves of sound. Cochlea implants and AI hearing algorithms become biological machines that amplify the sounds from the bodies of the performers in order to transmit them through the bodies of the audience members. These new organs, conceived and handcrafted by the artist, enlarge a kaleidoscopic world of sound that was always there. Ex Silens offers both d/Deaf and hard of hearing as well as hearing audience members an audiovisual experience that completely rethinks terms like deafness and cyborg.

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Concept, artistic direction, performance, choreography, dramaturgy, interactive AI music & programming Marco Donnarumma Prostheses’ concept, morphology, engineering, fabrication and AI programming Marco Donnarumma Collaborative research on hardware & AI software Intelligent Instruments Lab at the Iceland University of the Arts Stage design Marco Donnarumma, Anna Cingi Light design Andrea Familari Prostheses' visual design, 3D modeling and 3D printing Anna Cingi Additional prostheses' 3D modeling and 3D printing Christian Schmidts Collaborative research group Wojciech Czernia, Adriane Große, Ann-Catrin Gruber, Martin Holst, Mara Matzke Live sound technician Leon Dohr Live light operator Desirée García López Artwork's description texts Marco Donnarumma External eye Margherita Pevere, Jan Rohlf Ex Silens is an artwork and production by Marco Donnarumma. Co-produced by PACT Zollverein and with scientific support by the Intelligent Instruments Lab at the Iceland University of Arts in Reykjavík. Funded by the Ministry of Culture and Science of the State of North Rhine-Westphalia as a Medienkunstfellow.

Four human beings tap their bodies, shake themselves and make grimaces. They ask “Are you ready?” to each other. Then they enter the orange-colored house – and come back out as animals. Tiere treffen Tiere tells a story, full of situational comedy, of unexpected encounters and the curiosity for the unknown. In doing so, the piece does not only surprise the audience, but the performers as well. There is no fixed text, no agreed-upon story – everything is created through improvisation and the collaboration with the audience members.

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Performers & Collaborators Dan Daw, Tiiu Mortley, Joseph Brown, Sofia Valdiri Artistic Director Dan Daw Co-Director Sarah Blanc Dramaturg & Co-Writer Brian Lobel Set & Costume Designer Kat Heath Lighting Design Nao Nagai Composer Guy Connelly Sound Designer Lewis Gibson Associate Sound Designer & Sound Engineer Seb Falcone Video & Creative Caption Designer Sarah Readman Costume Supervisor Izzie Byers Executive Director & Producer Liz Counsell Production Manager Froud Technical Stage Manager Emily Winsor Access & Producing Assistant Georgie Luppi Access Support Worker Lottie Vallis Producing Fellow Erin Clark Co-commissioned by Attenborough Centre for the Creative Arts, Battersea Arts Centre, Transform, Take Me Somewhere, and Tramway for the New Dimensions commission. Additionally co-commissioned by Fabric, Kampnagel, Sadlers Wells, SICK! Festival and Les Halles. An Unlimited International Strategic Commission made possible thanks to funding from the British Council. Supported by Arts Council England and Cockayne 10th Anniversary Grants for the Arts. Co-produced by Battersea Arts Centre.

How can we make working conditions for disabled people more equitable? As part of the initiative Übermorgen, Theater Thikwa has taken a critical look at employment models for disabled artists over the last year – such as the lack of a minimum wage in workshops for disabled people.  

Project coordinator Juno Mahla will now present the results as well as ideas for what can be made better: the focus is placed on fair payment and less dependency on government assistance, the right to self-determination, greater visibility and security. We will then discuss the results with ensemble members of Theater Thikwa, the German Federal Government Commissioner for Matters relating to Persons with Disabilities Jürgen Dusel and the co-director of Making A Difference Juli Reinartz.

What is just – and what is the law? What rights and obligations do disabled people have in legal proceedings? Director Clément Papachristou explores these questions in co-authorship with his performers Edouardo della Faille, Guillaume Paps and Noémie Zurletti in Justices. In doing so, it is no accident that the scenes are reminiscent of the circles in Dante’s Divine Comedy: Vincent descends into hell in order to see to justice, freedom and redemption. The floor of the court opens up to the underworld where the exiles live, the condemned, the punished. Those who have been driven away by the people who rule the world above. It is the story of those we look away from, those we do not listen to enough. The only path to each other is to burst these bubbles. Right?

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Concept, Direction and Writing Clément Papachristou Artistic Collaboration, Performance and Writing Edouardo della Faille, Guillaume Paps, Noémie Zurletti Set Design and Artistic Collaboration Silvio Palomo Scenography intern Auriane Leclercq Dramaturgy and Artistic Collaboration Marie Alié, Salim Djaferi Costume Design Darius Dolatyari-Dolatdoust Costumes intern Manon Bery Lighting Design Ana Samoilovich Music Composition Joseph Schiano di Lombo Paintings Guillaume Paps Technical management Florence Dubru, Ludovic John (on tour) Stage management Pierre-Antoine Martin, Ludovic John (on tour) Lighting engineer Arthur Demaret Sound engineer Jeison Pardo Rojas Legal Advice Germain Haumont Associated Researcher Marie Astier Human and artistic support of Edouardo della Faille and Guillaume Paps Valentine Houot With the support of Ateliers de couture du Théâtre National Wallonie-Bruxelles A scenographic production by the Pôle de mutualisation de services & ressources techniques Workshops carried out alongside the creative process Mue du Lotus as part of a support initiative by Interrégions Grand EST // Brussels-Capital Region, Kinneksbond, Maison de la culture de Tournai, La Bulle Bleue, Teatr21, La Bellone – Maison du Spectacle, Creahmbxl Production Théâtre National Wallonie-Bruxelles, Compagnie SAINTSGENS – Clément Papachristou Coproduction Théâtre de Namur, Mars - Mons arts de la scène, Maison de la culture de Tournai - Maison de création, Kinneksbond - centre culturel Mamer, La Bellone – Maison du Spectacle, le Créahm-Liège, La Coop asbl, Shelter Prod In collaboration with Créahmbxl (Creation and Intellectual Disability) Supported by The Wallonia-Brussels Federation, General Service for Artistic Creation – Theatre Department, Le Corridor – Liège, Montevideo / Festival Actoral, ICC – International Criminal Court, Le Marteau, Taxshelter.be, ING, and the Tax Shelter of the Belgian Federal Government The performance was developed with a research grant Théâtre et Publi

How is gender inscribed in our bodies from birth onward? In Mark of a Woman, Chisato Minamimura takes a look at tattooing cultures and explores the marks that are placed on the bodies of women – by their own choice or by society. In doing so, she brings together choreographed and poetic sign language, digital animations and haptics technology. At the center is the question: Can we escape the marks that are placed upon us? And what happens when we reclaim the power to mark ourselves?

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Cast Artistic Director & Performer Chisato Minamimura Producer Tom Curteis Project Manager Emi Del Bene Production Manager & Lighting Designer Jon Armstrong Projection Designer Mark Morreau Sound Designer Dominic Kennedy Animator Dan Chambers Dramaturgical Support Sarah Pickthall, Orrow Bell Costume Designer Sophie Donaldson Videographer Caroline Smith Interviewees Sonia Zambakides, Shuko Fujita BSL Translator Fifi Garfield Visual Vernacular Expert Giuseppe Giuranna BSL/Visual Language Consultant Ramesh Meyyappan Tattoo Consultants Stewart O'Callaghan, Nikole Lowe Funded by Arts Council England, Unlimited, The Place, Battersea Art Centre Supported by Pavilion Dance South West, Wellcome Collection, Auckland Arts Festival

What is hidden behind these red curtains? What do they open up to? In May Fall, choreographer Aristide Rontini creates a secretive, floating atmosphere with the dancers of Skånes Dansteater. Different relationships and narrative threads come into being, merge and disappear again. Often, only details are clear between hypnotically undulating curtains. In doing so, the perspective on pleasure, curiosity and imagination changes. Everyday movements are interwoven to become situations full of desire and love. They also, however, show the frictions that arise when these desires are not satisfied. Why do we resist?

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Dancers Rafael Belinha, Kit Brown, Tomáš Červinka, Hazuki Kojima, Marlene Bergqvist, Hanna Nussbaumer, Michael Marquez Choreography in collaboration with the dancers Aristide Rontini Dramaturgy Gaia Clotilde Chernetich Music Vittorio Giampietro Set design idea Aristide Rontini Lighting design Jesper Berger Costume design, Costume management Maja Svartåker Rehearsal direction Belinda Nusser Stage management Juan Carlos Mendoza Sound management Jakob Erlandsson Light management Emanuel Arvanitis Supported by Europe Beyond Access, co-funded by the European Union

“I’m not afraid of my body. If I was, would that make you feel more comfortable?” In Monga, Jéssica Teixeira focuses on Mexican artist Julia Pastrana, who was considered one of the biggest inspirations for the so-called “freak shows” of the 20th century. Teixeira traces elements of the twenty-six years of life of the dancer, performer and singer which was marked by inhuman working conditions and exploitation. In doing so, Teixeira makes her own body a material of the production. In the harsh glow of a ring light, Teixeira stares back, keeping the audience suspended between intimacy, humor and shock. This is an evening somewhere between performance, poetry and a live concert, with the odd shot of cachaça.

Following the first performance, a book about the dramaturgy of the piece will be presented that is available in Portuguese as well as in English.

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Director, performer, author Jéssica Teixeira Music director, guitarist Luma Zabumba Juliano Mendes Video artist Çiça Lucchesi Technical director Jimmy Wong Production and subtitle operation Rodrigo Fidelis oder Khazar Masoumi (Corpo Rastreado)

When MC Hot-Shark-Stephen makes music together with beatbox legend Poseidon, dancing goddess Lia, and Master of Disaster Josh, the stage shakes! With thumping beats, creative wordplay, and electrifying moves, the artists face off against each other in energetic battles. It is not just rhythm and rhymes that decide the outcome, but also courage and self-confidence. What does it mean to be truly "cool"? What battles do we encounter in life? Are we ready to win them?

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By and with Felix Brünig, Lia Massetti, Stephan Sauerbier Directors Ismail Arslantürk, Atalay Dogan Directing Consultation Ellen Uhrhan

Sleight of Hand invites the audience to experience unknown objects, materials and substances with their hands. Through the combination of audio description, tactile design, choreography and an immersive ASMR landscape of sound, Sleight of Hand explores what we can discover if we loosen our hold on the known visual world and let our senses soar. Jo Bannon, who was a guest at NO LIMITS in 2019 with two performances, characterizes her work with dark humor and an ongoing fascination for objects, visual perception and a sense of wonder at the oddness of the everyday world.

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Created by Jo Bannon Produced by Jo Bannon Productions Sound Design Julie Rose Bower Sound Engineering Joe Cusack Set and Costume Design Katherina Radeva Set and Costume Made by Rositza Radeva Production Management Froud Audio Description consultation Laura Dannequin Hosted and performed by Kit Hall & Hannah Sullivan Originally produced by MAYK Sleight of Hand is part of Blind Magic: A triptych of artworks exploring the performativity of visual impairment. Passing (film), Sleight of Hand (participatory installation) and The Dirty Work (live performance) created by Jo Bannon. An Unlimited UK Partner Award 2023 commission with Wellcome Collection made possible thanks to funding from Arts Council England.

The Sound of Void is a poetic reflection on silence, an exploration of movement and sound – or their absence. In the dark room in which the performance takes place, two figures immerse themselves in an inner exploration. Their two distinct realities nourish one another. And the audience? It is drawn into this intimate space in which there is no “outside”. The imagination of the audience fills the gaps between what is shown and the void that remains.

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Artistic Direction, Performance, Choreography Míriam Aguilera, Rita Noutel

Let’s just get out of here – but to go where? Theater Thikwa and the performance collective Turbo Pascal explore fantasies of running away and staying in times of global crises. Leaving, taking off – to a place where climate change can’t hurt us, that won’t be affected in the event of an atomic strike and where the dignity of human beings remains inviolable. Is there a place like this? And if so, who can go there? The performers and the audience think up their own stories of emigration that succeed or fail and compare their legal, financial and physical options. Between reality TV, greenscreen trips and real barriers, an interactive performance about leaving is formed – and about the question of what staying in solidarity can look like?

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By and with Addas Ahmad, Rudina Bejtuli, Deniz Dogan, Louis Edler, Robert Janning, Angela Löer, Eva Plischke, Margret Schütz Concept & Direction Turbo Pascal Set & Costumes Janina Janke Music Friedrich Greiling / Mittekill Video Daniela del Pomar Lighting Design Gustav Kleinschmidt Assistant Direction Luisa Klidis Assistant Set & Costumes Anneke Frank Production Management xplus3 Produktionsbüro (Lisanne Grotz, Marit Buchmeier) Technical Crew Holger Duhn, Eric Scheller, Constantin von Thun Surtitles Barbara Wiebking Audio Description Elena Jansen (Script, Describer), Evelyn Sallam (Script Editor) Assistant Maj Rauert Backstage Support Leonor Gaudêncio Funded by the Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media.

In the autofictional short performance Von Sprüngen und Klasse, Steven Solbrig traces the fine cracks and the cement of the society in times of profound change. The window of their very first apartment becomes a multifaceted symbol, a mirror, a point of comparison, and a catalyst for questions: Class? Body? Movement? Or the other way around? Who is considered poor nowadays, and who isn’t? And where do we even go from here? Slipping into different roles, Steven Solbrig rebels against societal labels and invites the audience to interrogate their own notions of class. Von Sprüngen und Klasse is an encouraging invitation to confront vulnerability and the fear of social decline, in search of what connects us – or perhaps, what doesn't.

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Concept, sounds, performance Steven Solbrig Dramaturgical support (NO LIMITS 2026) Herbordt/Mohren, Friederike Zinn Dramaturgical support (original version) Felicia Daniel Speakers Marietta Füllenbach, Jan Maihorn, Yannic Köhler

Explore dance and choreography – inspired by “May Fall” and led by dancers from Skånes Dansteater. Starting with movements and ideas from the piece, we explore how movement can be translated, adapted, and experienced through different bodies. Through improvisation and creative tasks, you will find your own approach to the material. Instead of reproducing movements in a fixed way, you will work together to explore the movement possibilities of your own bodies.

The workshop is designed to welcome disabled and non-disabled participants. No prior dance experience is needed.

“Occupying the Void” is an immersive dance workshop inspired by the practical, creative, conceptual, and scenic research undertaken in creating the piece “The Sound of Void.” The dance company Yurdance is delighted to share this process of experimentation with other bodies and realities in an environment that embraces diversity. 

The workshop is open to disabled artists as well as anyone else interested in this type of dance work.

Stimming is movement, behaviour, or vocalisation to self-regulate. Often rhythmic and repetitive, stimming soothes or stimulates to bring oneself into balance. We all stim, but for neurodivergent people who process the senses differently, stimming is particularly important for well-being.

Dr. Aby Watson invites you to stimming improvisation – an embodied creative practice of sensory-seeking, instant composition. Through practices involving movement, objects, and voice, you can follow your sensory curiosity and zone in to rhythm and repetition. The workshop is open to everyone, whether you identify as neurodivergent or not. No prior experience is necessary – just a willingness to play and explore.

No panel, no microphone and order of speaking: here, there are no frontal speakers; instead, everyone speaks with each other. Just have a seat at one of the tables with the artists and the NO LIMITS team. To make it easy to get started, questions about the piece are provided. You can talk about what you thought about during the performance, join the discussion or just sit back and enjoy a drink. The table discussions will end after about 45 minutes, but you can leave at any time or join after things have gotten started.

An open, informal space for d/Deaf, disabled or neurodivergent artists to gather together and network, discuss, exchange, or simply be in a shared space with fellow crip artists. Tables, chairs, beanbags, pens, paper and fidget toys will be provided and there is a breakout room for quieter conversations.
As part of Crip Epistemologies by Kate Brehme and Haus der Kulturen der Welt.

The collective [in]operabilities from Hamburg and Berlin develops multisensory music theater and researches aesthetics of accessibility. Their current project is about lobbies: how accessible are such points of access into the theater designed? What would the perfect lobby for you look like? To find out, Benjamin, Franz and Fia are on the move before and after some of the performances in NO LIMITS. They have multisensory postcards with them that feature questions that you can answer. If you’re curious, just talk with them!