Noa and Luca have been best friends for as long as they can remember. With very different talents, interests, and dreams, they complement each other perfectly. Now, they are both auditioning for the talent show “10 out of 10, show your talent,” thereby putting themselves under the judges harsh scrutiny.

The show is sure to be emotionally high-strung, with voting and intense excitement. The production team will be sure to keep the competition hot. In the end, only one person can win. This puts Noa and Luca’s relationship to the test. Then comes the grand finale, and the judges have planned a special surprise.
Author Kai Bosch is a comedian, speaker, writer, and advocate for inclusion. He has been living with tetraplegia since birth and has had a stutter since he could speak. For years, he has been advocating for interactions between people with and without disabilities and for a better understanding of each other’s realities. In this play commissioned by JES, he uses humour to decipher what talent actually is and who decides what it is. After all, every person is gifted.

The creation of this piece was especially funded by a project grant from the Baden-Württemberg Youth Theater Award, with funding from the Baden-Württemberg Ministry of Science, Research, and the Arts, as well as by the City of Stuttgart as part of the “Stuttgart for All—Inclusive” funding program.

Noa and Luca are best friends. They have very different talents, interests and dreams. They complement each other perfectly. Now they are both auditioning for a talent show “10 out of 10, show your talent”.
The show will be very emotional. There will be judgement and excitement. At the end, only one person can win. This puts Noa and Luca’s relationship to the test. The big finale comes and the jury has prepared a surprise.

The author of the piece is Kai Bosch. He is a comedian, speaker, author, and advocate for inclusion. He has a spasm and a stutter. He advocates for interactions between individuals with disabilities and individuals without. “10 out of 10” tries to decipher what a talent actually is. Kai Bosch does this with great humour.

…also known as “sensory stimuli,” can be exciting or overwhelming for some people. That’s why you’ll find information here about sensory experiences that occur at various points during the performance. This information might be helpful for you or for someone attending the performance with you.

• There are changes in lighting, faintly flickering lights, colored lights, and complete blackouts
• Parts of the stage set include brightly colored fluorescent tubes with strobe-like effects
• There are sound and music recordings (sometimes loud and sudden)
• There are live camera feeds and video clips
• There is live singing, rapping, and guitar playing
• A microphone is used for speaking and singing
• The following audience interactions occur: In one scene, the audience is asked to clap. In other scenes, the audience is generally asked to call out words; no one is specifically addressed.
• In one scene, two actors are seated in the audience and are relatively close to the audience members sitting there. The location where this scene takes place is marked with a “Reserved” sign.

If you have any questions or concerns, please let us know.
We’re happy to help!

The following topics will be addressed:

• Living with a disability, discrimination against people with disabilities, lack of accessibility
• Discrimination against non-binary people
• Rivalry and conflicts among friends
• Heartbreak
• Hierarchies and power dynamics in a professional context

If you have any questions or concerns, please let us know.
We’re happy to help!

• There are several wheelchair-accessible seats available in the theater.
• In front of the JES Studios (Entrance C, 1st floor), there is also an accessible restroom that can be reached by elevator.
• The nearest accessible parking spaces are located on Eberhardstraße, Breite Straße, and Christophstraße.
• We’d be happy to pick you up at the nearest bus or train stop.
• Your service dog is welcome here.
• Seating is first-come, first-served during the performance. Please let us know if early entry would be helpful for you.

You can find detailed information about accessibility and inclusion at JES here!

Five geese are on the road when a rumor starts to circulate: Nils Holgersson has been shrunk by a goblin and in his tiny size, flew to Lappland on the back of the goose Martin! Soon, the geese start whispering about and an adventure story is born. A story about one who accidentally leaves home and unexpectedly sees the world with a new perspective…


Selma Lagerlöf’s classic children’s book poses timeless questions: How do we treat our environment? What roles do we play in our social structures? Which experiences shape our view of the world?



In a lovely reimagining of the story, JES invites you on a musical road trip. About friendship, change, and the question of what—or who—makes us who we are.

Five geese are on the road. They are discussing a rumor. The young boy Nils Holgersson was shrunk by a goblin and flew on the back of the goose Martin all the way to Lappland. Through the whispering, an adventurous story is born about a young boy who leaves home by accident. It’s also about discovering a new world.

The book from the author Selma Lagerlöf asks many questions. How do we interact with our environment? What role do we play in different communities? How does our view of the world get formed?

The piece is a musical road trip on stage. It’s about friendship and change. It’s about why we are how we are.

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• There are several wheelchair-accessible seats available in the theater.
• In front of the JES Studios (Entrance C, 1st floor), there is also an accessible restroom that can be reached by elevator.
• The nearest accessible parking spaces are located on Eberhardstraße, Breite Straße, and Christophstraße.
• We’d be happy to pick you up at the nearest bus or train stop.
• Your service dog is welcome here.
• Seating is first-come, first-served during the performance. Please let us know if early entry would be helpful for you.

You can find detailed information about accessibility and inclusion at JES here!

The door is shut, and all questions remain unanswered. An abandoned stage and many clues behind the door provide a space for wild speculation and hair-raising fantasies about what might have happened before or what could happen next, together with the question of whether whatever happens should be prevented. Puzzles upon puzzles arise for the four performers. This crime-like play is a plea for more mutual trust and playful freedom.Roads, kitchens, forests, playgrounds: dangers for children lurk everywhere, and the potential risk is enormous. Places where children can play unsupervised are becoming fewer and fewer, and children’s range of movement is getting smaller and smaller. With both of these factors combined, the opportunity to learn how to deal with dangers in a playful way and to experience self-efficacy is disappearing. But what do children actually do when they play freely and unsupervised? How dangerous is it really? Or: What do adults think children do when they play alone, and what dangers do they imagine?

Alarm! Something must be different than usual. But what? And why? Luckily, there’s a manual for every situation. But this situation isn’t in the manual. Unfortunately. How great! Oh no!? So what?!
Four people set out in search of solutions. They have very different skills and roles within the group. They grapple with new rules, responsibilities, and hierarchies. They keep watch. They cordon off areas. They ensure safety. They look out for the well-being of their audience. And they use their freedom to let their imaginations and playfulness run wild.
Grete Pagan and her ensemble have created a fun play. The play is suitable for all ages. It’s about rules. What happens when rules no longer apply? What happens when rules are misunderstood? What happens when rules are broken?
A play about safety, freedom, and responsibility. Who bears responsibility? Who takes on responsibility? Who relinquishes responsibility?
An encouragement to embrace more playful freedom, imagination, and trust. Have more faith in yourselves and others!

• There are several wheelchair-accessible seats available in the theater.
• In front of the JES Studios (Entrance C, 1st floor), there is also an accessible restroom that can be reached by elevator.
• The nearest accessible parking spaces are located on Eberhardstraße, Breite Straße, and Christophstraße.
• We’d be happy to pick you up at the nearest bus or train stop.
• Your service dog is welcome here.
• Seating is first-come, first-served during the performance. Please let us know if early entry would be helpful for you.

You can find detailed information about accessibility and inclusion at JES here!

Short clips will be shown that depict accidents or mishaps. They will portray strong emotions such as fear, panic, anger, and despair.

If you have any questions or concerns, please contact us.

We’re happy to help!

…also known as “sensory stimuli,” can be exciting or overwhelming for some people. That’s why you’ll find information here about sensory experiences that occur at various points during the performance.

This information might be helpful for you or for someone attending the performance with you.

• The play begins while the audience is still in the lobby. Three actors walk through the audience.

• There is mention of an alarm.

• An alarm goes off in the theater. There are several bright orange lights and a piano-like alarm sound.

• One character interacts directly with the audience.

• The alarm is turned off and back on using a control on stage. At one point, the alarm becomes very loud.

• The characters repeatedly scream and shout loudly.

• The characters repeatedly run across the stage.

• There is piano music.

• The audience is directly instructed to stand up and sit back down.

• Scary things are described. (Fog, a break-in, lice, sharks, a volcanic eruption, a dragon)

• One person repeatedly sits down among the audience.

• One person is wrapped in caution tape.

• There are intense emotions such as fear, pain, anger, sadness, panic, and despair.

• All the characters are very confused. Many lines are repeated several times.

• One person pretends to get an electric shock.

• The characters leave the stage from different places and return to the stage from different places.

• There’s a moment in the play when the lights go out.

• A button is pressed, causing a rope ladder to suddenly drop from the ceiling.

• A person is hanging from the rope ladder, holding on only with their hands.

• In one scene, there’s talk of a fire alarm.

• A person disappears into a box and then reappears wearing a dragon costume.

• A person puts on a suit with all sorts of things hanging haphazardly from it. The person also wears a helmet, so you can barely see their face.

• There is singing on stage.

• Three people disappear behind a door.

• Potential accidents or scary scenarios are acted out.

• Two people operate a large dragon costume with three heads.

• There’s a lot of fog.

• There’s a small flame.

• There’s wind from a wind machine. The wind machine hums loudly.

If you have any questions or concerns, please contact us.
We’re happy to help!

Kim de l’Horizon’s multi-award-winning debut novel is the starting point for this theatre piece. ‘Blutbuch’ is a collection of memories of things that seemed important to our ancestors, an honest struggle with a binary present and a tender dream of a place where everything could be different. This JES production invites you into a garden. The kind of garden we dream of: a place where we actually meet, where we can listen to each other honestly, argue relentlessly and rewrite stories.

The novel serves as a source of inspiration, a collection of texts and a centre for our own search about imprinting, anger, queerness and family.

schaefersphilippen™, Theater und Medien GbR, Köln.

‘A good murder, a real murder, a beautiful murder?’

Marie, Louise, Ophelia, Juliet, Desdemona: classical theatre literature is full of female murder victims. Their common cause of death: patriarchal violence. These texts, mostly written by men, centre perpetrators. Following an inner logic of social pressure and emotional despair, their deeds seem inevitable or even romantic. This is a pattern that is still reflected in reporting on gender-based violence today: Violent acts are labelled ‘family tragedies’, ‘jealousy dramas’ or ‘acts of desperation’ instead of calling them by their name: Femicides, murders of women* because of their gender or gender identity.

JES sets out to develop a theatrical counter-narrative. Director Pina Bergemann used to work in play clubs at JES, then made a career as an actress and was most recently seen at the Theaterhaus Jena in the multi-award-winning performance ‘Die Hundekot-Attacke’. After two solo evenings, which she also helped develop, she is now taking on the role of director.

‘Maybe djinns are this: Trruths that are always there, that are always in the room, whether you like it or not, but that you don’t put into words in the hope that they will leave you alone.’ Four siblings travel from Germany to Turkey for their father’s funeral. They do not travel together, but set out on their respective journeys alone. They have been fundamentally different in this family for a long time, perhaps they always have been. At the very least, they have all taken a different direction in their lives, with different attitudes, desires and fears. During the course of their journeys, their pasts, their childhood and youth emerge and the path to their identities becomes visible.

‘Djinns’ is about what it is like to lose one’s father and the connection to one’s origins. A group of young people from Stuttgart will take to the stage at JES and invite us into a space of remembrance, mourning and empowerment with ‘Djinns’. Their own post-migrant realities will become part of the production. For the second time, we are working together with Yeşim Nela Keim Schaub (director of ‘Warum das Kind in der Polenta kocht’).

Performance rights: Fatma Aydemir, Dschinns © 2022 Carl Hanser Verlag GmbH & Co. KG, München
Stage adaption by Yeşim Nela Keim Schaub, Alina Tammaro und Ensemble

Life is not fair. Some people are allowed to stay up late, others can already reach the shelf with the sweets. It’s usually the majority who decide which game to play. If just a few group members misbehave, is nobody allowed to have ice cream? And of course: Who is allowed to play with which toy?

The list could go on and on, as could the list of attempts to make everyone equal. How do you get someone to be fair and give up something when so many others give up nothing?

To develop the play, author and director Milan Gather and the JES ensemble first go on a research trip to schools and daycare centres to find out: When do we perceive something as unfair? How do we deal with unequal conditions? And how willing are we ourselves to compromise and show solidarity?

• There are several wheelchair-accessible seats available in the theater.
• In front of the JES Studios (Entrance C, 1st floor), there is also an accessible restroom that can be reached by elevator.
• The nearest accessible parking spaces are located on Eberhardstraße, Breite Straße, and Christophstraße.
• We’d be happy to pick you up at the nearest bus or train stop.
• Your service dog is welcome here.
• Seating is first-come, first-served during the performance. Please let us know if early entry would be helpful for you.

You can find detailed information about accessibility and inclusion at JES here!

Sensory experiences such as bright lights, loud noises, or sudden events can be exciting or overwhelming for some people. That’s why you’ll find a list here of sensory stimuli that appear at various points in “un/fair.”
This information might be helpful for you or for someone attending the performance with you.

– At the beginning of the performance, the lights in the auditorium are off and it is dark.

– The actors enter the stage in the dark and are

barely visible at first.

– At the beginning of the play, a spotlight briefly shines into the audience.

– At the start of the play, a large object (a cake) suddenly descends from the ceiling onto the stage floor. Fog is used during this sequence.

– There are many colorful tulle balls of various sizes on stage. One ball sparkles. The actors toss the balls back and forth on stage.

– Loud bass music plays at certain points in the play.

– At one point, there are signal tones and flashing red lights. This marks the start of a race.

– There is a scene with a strobe effect.

– At one point in the play, an actress laughs loudly and for a long time. It is not easy to read her emotions in this situation. Afterward, she whistles loudly once.

– At two different points in the play, actors fall down and quickly get back up.

– At one point in the play, two actors run toward a large ball. There is an actor inside the ball.

– At one point in the play, the stage lighting gradually dims.

– At several points in the play, audio recordings are played in which children’s voices can be heard.

If you have any concerns or questions, please contact us at ticket@jes-stuttgart.de.
We’d be happy to advise you and work with you to figure out how we can help.

At one point in the play, war and displacement are mentioned. Scenes are shown that are reminiscent of bullying.

Hero has been waiting for a long time. A really long time. For an adventure, for an exciting journey full of challenges, dangers and dragons! Then he finally gets a call that changes everything. Hero is suddenly in a land that has fallen out of balance: Exclamation Face has stolen Questionhead’s hat. Since then, no one has been able to ask questions anymore and everything is in chaos. Together with Sidekick, Hero sets out to find the hat – but not everything works out the way Hero had always imagined an adventure would…

With “Land behind the Curtain”, JES invites you to immerse yourself: Into an imaginative world full of surprises and funny twists, but also full of dangers and doubts that have to be overcome. We ask ourselves the big questions of all fantasy tales:

What is worth fighting for? Does it even make sense to fight? Is there no other way? And does one person always have to save the world alone, or does it not take at least two, or even many more?

Sensory impressions such as bright light, loud noises or sudden events can be overstimulating or overwhelming for some people. That’s why you’ll find a list of sensory stimuli in “Land behind the Curtain” here. They may be good to be aware of for you or someone who is attending the performance with you.

– Loud music and individual sounds as well as quivering noises.

– Use of colorful, moving lights, bright light and a signal light.

– Low light and darkness as well as rapid light changes.

– Use of fog.

– Stage elements are shifted and suddenly appear and disappear.

– The actors play several characters and often change their costumes.

– The actors show great emotion.

If you would like more information about the piece, you can take a look at our Visual Story Board . Here you can find out what to expect in the individual scenes. You will receive information about the most important events and scenes in the play as well as the sensory stimuli it contains. The Visual Story Board, a kind of picture story, is written in German simple language.

Download Visual Story Board PDF

If you have any concerns or questions, please contact us at ticket@jes-stuttgart.de. We are happy to work out how we can help together with you.

• There are several wheelchair-accessible seats available in the theater.
• In front of the JES Studios (Entrance C, 1st floor), there is also an accessible restroom that can be reached by elevator.
• The nearest accessible parking spaces are located on Eberhardstraße, Breite Straße, and Christophstraße.
• We’d be happy to pick you up at the nearest bus or train stop.
• Your service dog is welcome here.
• Seating is first-come, first-served during the performance. Please let us know if early entry would be helpful for you.

You can find detailed information about accessibility and inclusion at JES here!