It was recognition that led Sanne to a new form of theater-making. “I am sensory-sensitive myself and noticed that many people around me struggle with this world full of screens, sound, light, and other stimuli. That recognition was the starting point for this performance. And for the question of how theater can become more accessible for creators and spectators who cannot physically come to the theater.”
Actors at a Distance, Equal on Stage
In 'Content warning: few stimuli,' most actors are present in the theater, while two actors perform from their own homes. They are visible to the audience via screens on the stage. Rehearsals were held via Zoom, with earbuds to hear each other but without seeing each other live. Text and timing were rehearsed down to the second. “It was truly a technical puzzle,” Sanne explains. “The scenes with the digital players were pre-recorded, while the rest of the performance happens live. Sometimes you think, 'I wish I had timed that a few seconds later.' But at some point, we decided to record it, and that’s what we work with.” The effect that everything seems to happen live has been well achieved. “The audience feels like these actors are really calling in at that moment.”
For the players, the digital approach enables something that wasn’t possible before. Sanne: “For example, we have a musician in our cast who, due to her chronic illness, could no longer perform live. By making recordings, she found a place to create music again. Additionally, an actor with autism was able to fully participate thanks to digital tools, without the burden of physical rehearsals, travel, and a tour.”
Hybrid Accessibility
The Posttheater in Arnhem has the technology to offer a livestream during theater performances; hybrid, in other words. The recording can be watched back for two weeks. Last year, about 63 people purchased an online ticket and watched the stream of 'Content warning: few stimuli.' “When the audience enters the theater, they always wave to the home audience,” says Sanne, who emphasizes that numbers are not her main focus. “63 online viewers is fantastic, but it would also be great if there were only five. I find it especially beautiful that we achieve recognition when we create and present a performance inclusively. It has a profound impact on people who otherwise wouldn't attend a performance.”
Besides audiences with disabilities, Speels Collectief also reaches viewers abroad, older adults, people with young children, or those with busy schedules through streaming. “It’s not just for people who are sensory-sensitive. There are various reasons why digital offerings are necessary.”
According to Sanne, digital accessibility tools add significant value. “They bridge the gap to people who cannot be physically present, but they also bring extra creative richness to the creation of a performance. This is called ‘creative access.’ Accessibility is not an afterthought but an integral part of the creation process. Accessibility thus contributes to a richer cultural language, ensuring an equitable experience for and by everyone, including digitally. I advocate for more creative access in the cultural sector.”
Towards an Equitable Role for Digital
Speels Collectief aims to further develop the accessible, digital approach. At the end of November, 'Content warning: few stimuli' will be featured at the No Limits Festival in The Hague, the largest inclusive festival for 'mixed-abled' theater in the Netherlands, complete with livestreaming, sign language interpreters, audio descriptions for the blind and visually impaired, and a quiet room. Starting in January 2027, a tour of ten performances across the country will follow.
Speels Collectief will discuss accessibility for sensory-sensitive audiences with each theater beforehand, such as the volume of music in the foyer and dimming the lights. “Additionally, we have our own stimuli guide, so visitors know which stimulus—like a loud sound—occurs at what moment.”
To enable more interaction, Sanne wants to organize ‘watch parties.’ “These are moments when the home audience watches together, with an introduction beforehand and a discussion afterward, where actors also join. The best would be if online viewers could connect with each other about their digital experience and virtually ‘look at’ each other or chat during the performance. We don’t have that capability yet.”
Additionally, Speels Collectief wants to expand the online community. “For people who are house- or bedridden for short or long periods and therefore cannot physically attend lessons, workshops, or performances.”
In 2027, Sanne hopes to create a new performance with one live actor and one actor who truly acts digitally in real-time, rather than pre-recorded. “Digital actors will no longer be an addition to the story; they will form the main narrative. We are still looking for a collaboration partner because it will be a challenge to make this run smoothly technically.”
Tips from Director Sanne for You as a Cultural Professional
‘Start with the conversation, not the technology. Accessibility doesn’t have to immediately mean the most expensive elevator in your building.’
‘Starting small can already achieve a lot. For example, let one person participate remotely in the rehearsal room or share a recording with those who couldn’t be there.’
‘No budget for a livestream? Use an existing recording and make it available online.’
‘Make your side program digitally accessible as well, such as a digital tour of an exhibition or a post-show discussion.’
‘Don’t be afraid your theater will empty out. Those who can attend live will continue to do so. Digital is a supplement, not a replacement.’
‘Look beyond the number of viewers. Reaching two people who otherwise could never have attended is already valuable.’
About the Director and the Theater Company
Speels Collectief is a diverse, 'mixed-abled' theater company founded in 2014 by Sanne Arbouw and Merel van Lieshout. The company has grown into two parts: The Community, an accessible place where new creators and students learn to make inclusive theater, and The Company, which produces one performance annually and tours the country.
Sanne Arbouw—who herself has been diagnosed with ADHD and autism—forms the management team along with Merel van Lieshout and Kir Robben and is one of the directors at Speels Collectief. She creates performances with a diverse group of players with different bodies, minds, ages, and backgrounds to question norms in theater and society. Digital tools help her in her pursuit of accessible, inclusive theater.
Want to know more? Visit www.speelscollectief.nl (opens in new tab)
Reaction from an Online Viewer
‘Hopefully, more companies will follow Speels Collectief’s example and start livestreaming their performances.’
Due to illness, Lisa Groot Haar is largely homebound and followed the performance 'Content warning: few stimuli' by Speels Collectief via livestream. “I would have preferred to be in the theater, but since my health doesn’t allow it, this was a wonderful way to still attend the piece.”
As an online viewer, Lisa didn’t feel less involved in the performance. “It was mentioned that there were online viewers. The audience in the theater was asked to turn around and wave to us. This made me feel very connected to the rest of the audience. The fact that two of the actors were also only digitally present also created a sense of connection. It broke the hierarchy of ‘offline is more important than online.’”
For Lisa, this introduction definitely leaves her wanting more. “Before I became ill, I was also a theater maker myself. It’s amazing that I can continue to visit my great love—the theater—in this way. Hopefully, more companies will follow Speels Collectief’s example and start livestreaming their performances.”
The No Limits Festival (opens in new tab), where 'Content warning: few stimuli' is featured, takes place at the end of November in The Hague.
On November 5, another performance by Speels Collectief will be available via livestream from the Posttheater: IK BEN KAMER 15, accessible with Livestream in the Posttheater (opens in new tab).
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