Project Call 27/28

For the fourth consecutive year, Theaterhaus Jena is inviting project proposals to be realized at or in collaboration with Theaterhaus Jena during the 2027/28 season.

We are looking for strong artistic ideas and diverse perspectives, for new approaches and a wide range of artistic forms of expression.

We welcome:

  • Projects from various artistic disciplines
  • New formats and event concepts
  • Innovative stagings of classical and contemporary texts
  • World premieres
  • Research projects
  • Collaborative projects that can be realized both at Theaterhaus Jena and beyond its premises
  • Anything else you can imagine

There are no thematic requirements. The selected content does not need to be connected to the artists’ identities or personal backgrounds. We also explicitly encourage projects that can take place outside traditional theatre spaces. As a guiding framework for work at Theaterhaus Jena, we refer applicants to our Manifesto 25–27.

We particularly encourage applications that represent perspectives or address subjects that are systematically overlooked within theatre institutions. Previous experience in theatre is not required.

The application process is anonymous: our aim is to encourage applications especially from artists who are not yet established. To preserve applicants’ anonymity and ensure a fair selection process, no questions will be answered during the first stage of the application process. Questions regarding physical accessibility at Theaterhaus Jena, as well as any specific needs of applicants or productions, can be discussed during the second round.

To ensure a diversity of perspectives within our programme, we have introduced the following limitation for the 2027/28 season: no more than one third of our new productions will be under the artistic leadership (or direction) of white, non-disabled, cisgender men.

For the sake of transparency: in the 2026/27 season, approximately 40% of new productions are under the artistic leadership or direction of white, non-disabled, cisgender men.

  • The term white is intentionally italicized. It does not refer to a biological characteristic or an actual skin colour, but to a political and social construct. Whiteness refers to the dominant and privileged position within the power structure of racism—a position that often remains unnamed and unspoken. Whiteness encompasses an unconscious sense of self and identity that shapes how white people perceive themselves and behave, while placing them in a privileged position within society, for example with regard to access to resources.
  • Abled or able-bodied refers to the socially privileged position of people without disabilities. People in this position generally do not name or reflect on their social position, as it is commonly perceived as “normal.” Explicitly naming this position helps make hierarchical social structures visible.
  • Cis, cisgender, or cis-sex describes people whose gender identity corresponds to the sex assigned to them at birth. The term did not originate as a self-designation; people in socially privileged positions often see little need to mark or name their position because it is treated as the norm.
  • Privilege is understood as an (unearned) advantage that is often perceived as natural or self-evident. Privileges typically benefit majority groups or groups that are not marginalized. Individuals or groups possess privileges only because other people are denied certain advantages, opportunities, and rights.

Sources: Amnesty International Germany – Glossary for Discrimination-Sensitive Language and Awareness St. Pauli – Definitions of Terms

How We Assess Applications

In the first round, we evaluate submissions according to three categories:

1. What does the idea want?
We assess the submission based on its social and artistic intentions, its political relevance, its proposed realization (both in terms of the final outcome and the production process), and its clarity. We place particular value on the applicants’ own motivation, on unconventional perspectives, and on the emotions and images that the engagement with the topic evokes in us.

2. What can the idea do?
We assess the submission based on the possibilities we see in the idea and the opportunities the project may create. We ask ourselves: Who can the project reach? What can it set in motion? How far can its impact extend? Here, we pay particular attention to concrete ideas for implementation and to how the proposal takes the staff of Theaterhaus Jena into consideration.

3. How should the idea be realized?
We assess the submission based on your goals for the sustainable use of material and human resources. We consider what production conditions the idea requires and whether we are able—and willing—to provide them.

We never evaluate the people behind an idea. Rather, we assess the relationship and potential collaboration between Theaterhaus Jena and the proposed project. Evaluations are made individually and are also informed by the perspectives and visions of the theatre’s staff.

Some of the questions we ask ourselves during the evaluation process are collected below, in no particular order:

  • Where did the idea come from, and how has it evolved? What is it about the idea that continues to stay with us?
  • What questions will initiate the rehearsal process?
  • Who is on stage, and why? What opportunities for growth and development does the project create for the staff and collaborators of the theatre?
  • What does the audience experience during the performance? What do they see, hear, smell, and feel? What takes place on stage?
  • What might a scene from the project look like? What might the process of developing a scene look like?
  • To which genre might the project belong? What distinguishes it from other works and working methods?
  • Who is the project made for? Who is it not made for? Which people might it bring into the theatre who do not usually attend theatre? How will it encourage them to come?
  • Why does the world, this country, this city, and this particular audience need this project?
  • How should the audience leave the performance? How should they feel? What questions should remain with them afterward?
  • What kinds of questions would we be excited to hear during the post-show discussion?
  • How does the team deal with pressure and overwork? How does it prevent or reduce production-related stress for everyone involved?
  • In what ways are materials and resources used sparingly? Where is sustainability taken into account? If it is not, why not?
  • Why this particular project, at this particular moment, with this particular team? And why specifically at Theaterhaus Jena?

Selection Process

We make decisions on applications in three stages:

Round 1
In the first round, the Artistic Direction reviews and selects from the anonymized project proposals based on the evaluation criteria outlined above. Before the selected proposals advance to the second round, applications are de-anonymized in order to ensure compliance with the limitation described above regarding the representation of white, non-disabled, cisgender men within the programme.

Round 2
Applications are reviewed and assessed for feasibility through conversations between the applicants and the various departments of Theaterhaus Jena. Outstanding questions are addressed in a joint meeting. The potential of the idea is discussed, explored, and further developed together with the theatre. Production budgets and fees are discussed transparently with applicants, based on Theaterhaus Jena’s overall budget framework.

Round 3
The project proposals are discussed by all employees of Theaterhaus Jena in the absence of the applicants. The final selection of projects is made through a democratic decision-making process involving the entire staff.

Submission Requirements

Applicants must submit two separate PDF files:

  • PDF 1: Project Proposal (maximum 3 pages)
    The first file should present the project idea. Applicants are free to choose the format and design of these pages. Applications may be submitted in English or German.
    This document must be fully anonymized and may not contain any information or images that could identify the applicant(s). Applications that are not sufficiently anonymized will not be considered.
    The file should be named: THJ_CONCEPT_ProjectTitle
  • PDF 2: Contact Information (maximum 1 page)
    The second file should contain the contact details and short biographies of all individuals involved in the application.
    At the beginning of the document, applicants must designate one person as the primary contact and provide a copyable email address.
    The file should be named: THJ_CONTACT_ProjectName

Submission Deadline

Both PDF files must be submitted by email no later than 15 September 2026 to:

bewerbung26-27@theaterhaus-jena.de

To preserve applicants’ anonymity and ensure a fair selection process, no questions can be addressed during the first round. Emails containing questions will therefore not be answered.

General Note: As long as the formal requirements are observed, any type of project proposal may be submitted.