The map portrays a floor plan of Teatro Strehler comprising the entrance hall, the foyer, the “Scatola Magica” and surrounding spaces, which are located on the ground floor of the building.

Conventional signs

• The solid lines are walls;
• the wavy lines are curtains;
• the checkered areas are the seats;
• the multiple thin arrowheads are stairs and ramps;
• the small crossed boxes are elevator shafts;
• the hollow shapes in solid line are the outlines of furnishings;
• the dashed rectangle outlines the performance area of the “Scatola Magica”;
• the dotted arrow marks the entrance;
• the filled raised surfaces are areas that are inaccessible to the general public or obstructions from structural elements;
• the dotted areas are the toilets;
• the letters in large print and in braille mark certain areas (ticket office, “Corner”, “Scatola Magica”);
• the cross marks the position of this panel.
   

Exploration
In the upper left corner of the map you will find the words “T. Strehler: Ingresso e Foyer” (meaning “Entrance Hall and Foyer” in Italian) in large print and in braille, while in the upper right corner is the QR Code linking to this guide. 

Now place both hands on the lower edge of the map and locate, near the middle of the panel, several raised squares grouped in pairs: these are the columns of the entrance portico.

Let us move to the third pair of pillars from the right, almost at the centre of the panel. Move your fingers upward and you will find a dotted line: follow it to identify it as an arrow indicating the access leading to the entrance hall of Teatro Strehler.

Just above the tip of the arrow, enclosed by a thin line, we can find a “B” in large print and in braille, marking the ticket office. If instead we move further left in the direction traced by the arrow, we will find, in the following order: a gap between two walls; a protruding “spike” extending beyond the lower perimeter of the building, containing the outline of a bookshelf for display purposes; and finally, a pair of multiple arrowheads pointing leftwards, signalling the staircases that lead respectively to the first floor (the bottom one) and to the basement (the top one).

Just above and slightly to the right of these staircases lies a raised circle representing a sculpted bust of Giorgio Strehler, which is on a plinth directly in front of the entrance. From here, moving slightly upward and to the right, we can find a cross. It marks the position of this panel, and it is where we are presently located.

Immediately above the cross, beyond a wall, we will find a “C” in large print and in braille. This marks the “Corner”, a space set up within a corner of the foyer and mainly devoted to temporary exhibitions. If, going back to the cross, we move to the right, we will instead enter a narrow corridor squeezed between the ticket office below and a raised area above.

Without going into too much detail on its irregular outline, we will soon encounter an elevator (portrayed by a small crossed box) and, to its right, the toilets (a rectangle covered in dotted surface). In the upper right corner of these bathrooms we may find an emergency exit joined to a smooth corridor. This curves around a raised polygon—an area that is not accessible to the public—and leads outside the building. Directly beneath the elevator we will also find another gap in the perimeter wall, which is another emergency exit.

Let us now return to the “Corner” and move our fingers horizontally beyond its left wall, crossing the foyer again until, at the same height of the “C”, we find a small gap in a slanted wall next to a small thin-line polygon. This latter represents a bench, while the gap in the wall is the entrance to the “Scatola Magica”.

After passing through this opening and moving upward to the left, we will soon encounter the letters “S. M.” in large print and in braille, indicating that we are in the space called “Scatola Magica” (“Magic Box” in Italian). This is a multipurpose room employed for performances and installations. Just above the letters we can locate a dashed rectangle marking the performance area.

Up and to the right of the “M” in large print we find a wavy line representing a curtain, beyond which lies another access to the foyer. If from here we keep going upward, set within a wider raised area, we will find a small crossed box marking another elevator. If, instead, we move downward, we shall find the two hollow rectangles of two benches.

Let us now focus more closely on the large raised polygonal area, roughly C-shaped and more or less in the middle of the panel, which stretches upward and to the right of the “Corner” exhibition space. This area is taken up by a series of walls and service rooms surrounding the first row of the balcony: following its inner profile, we will in fact find a checkered curve, representing the seating.

From the upper end of the balcony, running between two raised areas, we will find a hollow corridor. On the left, it ends in another portico (recognisable by the pairs of filled squares also found along the lower edge of the panel): this is an emergency exit.

The balcony, of course, opens up above the stalls, stage, and backstage, which are located on floor -1 and are not portrayed here. The space they would otherwise occupy is left blank, but we can trace its outline, bordered on the right side of the panel by offices and other service areas not accessible to the public.
 

The map represents a floor plan of Teatro Strehler, specifically the balcony and the surrounding spaces, located on the first floor of the building.

Conventional signs

• The solid lines are walls;
• the checkered areas are the seats;
• the multiple thin arrowheads are stairs and ramps;
• the small crossed boxes are elevator shafts;
• the hollow shapes in solid line are the outlines of furnishings;
• the filled raised surfaces are areas that are inaccessible to the general public or obstructions from structural elements;
• the dotted areas are the toilets;
• the diagonally-striped areas are the cloakrooms;
• the cross marks the position of this panel.
   

Exploration
In the upper left corner of the map you will find the words “T. Strehler: Balconata” (meaning “Balcony” in Italian) in large print and in braille, while in the upper right corner is the QR Code linking to this guide.

Now place both hands on the lower edge of the map and locate, toward the middle of the panel, several raised squares grouped in pairs: these are the columns of the entrance portico, aligned with the side of the building running along the bottom of the panel.

If you start from the two rightmost pairs and move your fingers upward, you will encounter a large raised polygon. This area contains some offices and the Historical Archive. From the leftmost pair, instead, move your fingers to the left: you will soon find a “spike” protruding beyond the lower perimeter of the building, which contains the outline of a display stand.

If, from here, we keep following the outline of the building toward the left, just beyond the vertical line of a walkway, we will find the multiple thin arrowheads of a staircase. These are the stairs leading to the ground floor. Let us move past them to the left, reaching the outer wall of the building, which here turns upward at a right angle. We will soon encounter more arrowheads pointing downward, marking the start of the staircase.

If from these last arrowheads we move our fingers upward and slightly to the right, crossing the hollow area of the balcony foyer, we will find a cross marking the position of this panel: this is where we are presently located.

Returning to the arrowheads and moving instead upward in a straight line, we may find several hollow small rectangles: those on the left are benches, behind which are two floor-to-ceiling windows; the longer one on the right is the counter of the cloakroom. Just to its right, we find a small diagonally-striped area representing the cloakroom itself.

Continuing upward and following the outline of the building as it bends to the upper right, we may find the small rectangles of more benches, an elevator represented by a small crossed box, and finally a dotted area: these are the toilets. All around them, to the right and then in a slanted up-and-down profile, there is a large raised area not accessible to the public, containing several offices.

Now let us return to the cross marking the position of this panel. We can locate it just below the cloakroom, or slightly upward and to the right of the staircase, as we did earlier.

From here, move your fingers upward to the right, beyond a wall, and you will find a wide checkered area. Scan it with both hands, and you will recognise its almost crescent-like shape. This is the balcony, bordered on the right and upper left sides by thin lines representing the railings. Among the various checkered surfaces of the seating sectors, you will find the arrowheads of stairs leading up to the various rows.

The balcony, of course, opens up onto the stalls, the stage, and the backstage areas: these, being on floor -1, are not portrayed here. The space they occupy is left blank, but we may follow its outline, bordered by offices and other service areas not accessible to the public, along the right half of the panel.

Let us retrieve the cross once more and follow the wall separating it from the balcony seating, moving downward diagonally to the right. We will pass two gaps in the line (two access doors), and then, against the wall, we will find the hollow small rectangle of another bench.

We will then reach a vertical raised rectangle, which is part of the building’s structure; moving past it to the right, we will find another cloakroom, portrayed in the same diagonally-striped surface.

Just below the cloakroom, we can find the wide hollow rectangle of its counter; below and all around it, the small rectangles of several benches are arranged throughout the space; on the external walls behind them, there are more floor-to-ceiling windows.

Upward to the right of the cloakroom, nestled between the balcony and the first inaccessible area that we identified, we may find two more points of interest: the small crossed box of another elevator and, to its right, a hollow rectangular space. This last one is the stairwell of an emergency exit.
 

The map portrays a floor plan of Teatro Strehler, specifically the stalls and the surrounding spaces, which are located on floor -1 of the building.

Conventional signs

• The solid lines are walls;
• the wavy lines are curtains;
• the checkered areas are the seats;
• the multiple thin arrowheads are stairs and ramps;
• the small crossed boxes are elevator shafts;
• the hollow shapes in solid line are the outlines of furnishings;
• the filled raised surfaces are areas that are inaccessible to the general public or obstructions from structural elements;
• the dotted areas are the toilets;
• the diagonally-striped areas are the cloakrooms and the bar;
• the dashed rectangle outlines the stage;
• the cross marks the position of this panel.

Exploration
In the upper left corner of the map you will find the words “T. Strehler: Platea” (meaning “Stalls” in Italian) in large print and in braille, while in the upper right corner is the QR Code linking to this guide.

Now place both hands on the lower edge of the map and move your fingers upward: you will feel that the outline of the building begins horizontally and then widens upwards on both ends, displaying a variety of markings and surfaces.

Let us begin from the horizontal section and, moving upward beyond the perimeter wall and a slanted wall on the left, look for some multiple thin arrowheads. These mark the stairs that lead from the foyer on the ground floor down to floor -1, where we are located. To the right of the staircase is a dotted area, which indicates a first group of toilets.

Starting from the arrowheads now move upward to the left, that is, in the direction opposite to where the arrowheads are pointing. Here, you should soon encounter a cross. It marks the position of this panel, where we are presently located.

Just above and to the right of the cross can be found a long, hollow polygon, almost a wide and flat trapeze: this is the cafe counter, and lies below a diagonally-striped surface representing the bar area. Above it, we find an irregular raised polygon: this is the control booth which, of course, is not open to the public.

Continuing upward from the control booth, we will find an area covered in multiple checkered sections arranged in a fan-like pattern: this is the stalls area, and these, just under your fingers, are the various seats. Between the seating sectors and along their sides, you will find arrowheads marking the stairways providing access to the various rows.

The stalls area has a roughly octagonal shape. If we carefully explore the upper right and left slanted corners we will find, in each corner, a wavy line representing a curtain. The corner on the upper right, beyond the curtain, leads into a corridor that can be traced through a raised area, somewhat windingly, all the way back to the foyer; the one on the upper left leads to an emergency exit of which, always beyond the curtain, we may identify the stairwell.

Let us retrace again the octagonal shape of the stalls. In the lower slanted corners we find only two openings in the perimeter. These are the two entrances to the stalls opening up directly onto the foyer on floor -1.

Now, if we return to the seating area and proceed upward, we will encounter an almost-arched solid line outlining the proscenium: beyond it, we find a large dashed-line rectangle, which outlines the stage area.

If from here we move our fingers to the left or upward we will encounter, running along the upper edge of the panel, a vast raised area not accessible to the public. This contains dressing rooms, storerooms, and other service rooms. To the right of the stage, on the other hand, there is a large hollow area: this is the backstage, housing machinery and other stage equipment, along with a passage connecting Teatro Strehler to Teatro Studio Melato.

We may now wrap up our exploration of the foyer on floor -1 by going back to the cross that represents this panel. We can locate it by the lower left corner of the raised polygon just below the stalls, or retrieve it as we did at the very beginning, referencing the staircase at the bottom of the map.

From the cross, slide your fingers slightly to the left and, next to a small raised polygon (some more service rooms), you will find a small hollow rectangle portraying a bench. From here, move upward to the left, following the slanted edge of the building, to find a diagonally-striped area: this is a cloakroom, and just by it we will also find the hollow rectangle of the counter. 

From here, move further upward: near the hollow rectangles of two more benches, and enclosed within a raised area that is not accessible to the public, you can find an elevator represented by a small crossed box.

To explore the other wing of the foyer on floor -1, let us return to the toilets in the lower part of the panel, that is, the dotted area near the stairs we touched at the beginning. Moving upward to the right, we can locate another area not accessible to the public, bordered on the left by the hollow rectangles of two more benches.

Continuing upward to the right along the slanted outline of the theatre, we may find another diagonally-striped cloakroom area, also by its own counter. To the right, this space is surrounded by a large area not accessible to the public. Slightly above and to the left of the cloakroom, we may find one last elevator, essentially mirroring the one we identified earlier.
 

The map portrays the floor plan of the “Nina Vinchi” Cloister, adjacent to Teatro Grassi, the historic venue of Piccolo Teatro di Milano.

Conventional signs

• The thick solid lines are walls;
• the thin lines outline the open space of the Cloister;
• the wavy lines are curtains;
• the filled raised circles are the columns of the portico;
• the hollow shapes in solid line are the outlines of the stage platform, the control desk, pots, and planters;
• the checkered surface is the seating of the conference area;
• the filled raised areas are areas that are inaccessible to the general public;
• the filled raised squares are the tables of the Piccolo Café & Restaurant;
• the diagonal-striped surfaces are the areas of the Piccolo Café & Restaurant;
• the dotted areas are the toilets; the dotted arrows mark the entrances and exits to/from the building;
• the cross marks the position of this panel.

Exploration
In the upper left corner of the map you will find the words “Chiostro Nina Vinchi” (meaning “‘Nina Vinchi’ Cloister” in Italian) in large print and in braille, while in the upper right corner is the QR Code linking to this guide.

Now place both hands on the lower edge of the map and move your fingers slightly upward. You should be able to identify a raised square in the middle; to its left, a gap in the line running parallel to the lower edge of the panel; and to its right, two dotted shapes. These are the two arrows marking the entrances from Via Rovello, both pointing upward: the one on the left leads to the Cloister, while the one on the right leads to the café.

The gap without an arrow on the left is an emergency exit from the Teatro Grassi foyer, portrayed in another panel, while the raised square in the middle represents an area that is usually not accessible to the public.

If we follow the rightmost arrow in the direction shown by its tip, we will immediately meet some small arrowheads pointing upward, marking the presence of steps. Crossing the smooth surface upward, we will find another group of arrowheads marking one last step before reaching the Cloister. We are here in a small room with several tables, which are not portrayed for the sake of clarity, while on the right (that is, in the corner of the panel) we can identify a diagonally-striped area. This is the theatre café, the Piccolo Café & Restaurant.

Let us now return to the entrance arrow, the one on the left. Move your fingers upward, following the direction of the arrow, through a sort of corridor drawn in thin line marking the beginning of the Cloister, here bordered by a step. Beyond the line on the left, we will immediately find a cross. This marks the position of the panel: we are here, in what we may call the “lower” wing of the Cloister. By moving up beyond the cross, we will find a raised circle: this is a column, and by spreading your fingers to the right and left you will be able to identify other ones.

To the right and left of the thin corridor running across this lower wing, we will find two vertical lines each with a gap in the middle. These are glass walls dividing the side wings of the Cloister, and the gaps correspond to their doors. Let us pass through the one on the left.

We are now in the lower left corner of the Cloister. To the upper left and just below, interrupting the perimeter walls running parallel to the sides of the panel, we find two openings each behind a wavy line. These are curtains which function as dividers for the passages between the Cloister and the theatre foyer, normally accessed through the lower curtain.

Let us return to the open area in the lower left corner of the Cloister and move our fingers slightly upward to find a hollow rectangle, almost a square. This is a stage platform used for press conferences, meetings and other events. From here, if we proceed upward, we will follow the left wing of the Cloister across a checkered surface, marking the seating for this conference area, before finding at the end another hollow rectangle, somewhat narrower, representing the control desk.

To the right of this area, in a vertical layout and parallel to the left wall of the Cloister, we may find a distinctive pattern of raised circles joined by lines, with occasional gaps, and tiny rectangles at the height of the line segments. This represents once again the colonnade of the Cloister: the circles are the columns of the portico, the rectangles are planters placed between one column and the other on the inner side, whereas the lines are the glass panels separating the arches and the Cloister. Where there is a gap in the pattern, there are openings leading into the central open-air space, which is the smooth area roughly in the middle of the panel. The midway opening is an emergency exit.

Along the inside of the Cloister, when following the colonnade, we again find the thin line of the step bordering the open space. There are gaps where ramps are located in correspondence with the entrances.

Let us continue along the pattern of the colonnade with both hands and identify the more-or-less square perimeter of the Cloister. We have already found two wings: the “lower” one, where we physically are, and the “left” one, with the seating area. Following the same principle, we may now retrieve the “upper” wing, in the upper part of the panel. 

Here we will find a number of raised squares grouped in several rows, which are the tables of the Piccolo Café & Restaurant. In the upper right corner there is a diagonally-striped polygon, representing the service areas of the restaurant.

At the top, running parallel to the upper edge of the panel, there is a large polygonal raised area: these are service spaces which are not accessible to the public. A hollow rectangle placed among the tables, narrow and oblong, represents a furniture item that blocks access to this rear area. Along the profile of the colonnade, we will also find some small hollow circles: these are large decorative vases.

Let us now move to the right wing of the Cloister, directly below the diagonally-striped area we have recently identified. We will find the rectangles of more tables, arranged rather more freely than in the upper wing. Continuing straight downward, we will then come across a raised polygon, not accessible to the public, and then a dotted area: these are the toilets, which can be accessed from this side of the Cloister.
 

The map portrays a floor plan of Teatro Grassi comprising the entrance, the foyer, and the balcony, located on the ground floor of the building.

Conventional signs

• The thick solid lines are walls;
• the wavy lines are curtains;
• the checkered areas are the seats;
• the small crossed boxes are elevator shafts;
• the multiple thin arrowheads are stairs and ramps;
• the filled raised surfaces are areas that are inaccessible to the general public or obstructions from structural elements;
• the dotted areas are the toilets;
• the “B” in large print and in braille marks the ticket office;
• the dotted arrows mark entrances and exits to/from the building;
• the cross marks the position of this panel.
   

Exploration
In the upper left corner of the map you will find the words “Teatro Grassi – Foyer e Balconata” (meaning “Foyer and Balcony” in Italian) in large print and in braille, while in the upper right corner is the QR Code linking to this guide.

Now place both hands on the lower edge of the panel and follow the thick solid line tracing the perimeter of the building, running horizontally alongside the edge. Almost at the lower right corner, by moving our fingers upwards and crossing it, upon entering the building we will find a “B” in large print and in braille. This letter states that we are at the ticket office. To its left, a vertical line marks the counter separating it from the foyer and, directly above, a filled raised polygon stands in for a service staircase that is not accessible to the public.

If from the upper left corner of this polygon we move our fingers to the left, thus entering the foyer, we will soon find a cross: this marks the position of the panel, and this is where we are located. Immediately to its left we will find a broken line that represents one of the accesses to the “Nina Vinchi” Cloister, portrayed in another panel.

Just above this gap we will find a dotted shape: let us trace it with our fingers, and we will see that it forms an arrow, which indeed marks the main access to the foyer from the Cloister.

From this passage, let us follow the wall line to its left as it turns upward at a right angle, and not long after we will find the wavy line of a curtain draping a secondary access to the Cloister.

Let us now return to the lower right corner of the building, where the ticket office is, and move left following the thick perimeter line. About halfway across the panel, we will first meet a vertical line representing a short wall and, just beyond it, two groups of small arrowheads. These are one of the two staircases leading to floor -1, where the stalls are located.

Proceeding to the left we may notice an opening with a dotted arrow pointing downward. This is the main exit onto Via Rovello of Teatro Grassi. Let us proceed to the lower left corner of the map to find another staircase, mirroring the one we encountered earlier, marked by two more groups of arrowheads.

If from this corner we proceed upward along the perimeter wall of the theatre, which here is at a slight angle with respect to the panel edge, we will soon find a series of rooms in a dotted surface. These are the toilets, which can be reached from the foyer: indeed, there are a series of gaps along their right side corresponding to the doors.

From the upper left corner of the bathrooms, let us follow their upper wall toward the right and, after a small corner, move our fingers upward to find a gap in the building perimeter: this is an emergency exit that connects the balcony to the outside.

Now let us bring our hands back to the lower part of the panel, and more precisely to the horizontal section of the perimeter between the two staircases. If from here we scan upward, we should soon be able to recognise four raised squares. These are four pillars belonging to the wall, traced with a solid line, above which we will find the balcony.

Upward and past the wall we will identify a checkered surface representing the balcony seats. In between the various sectors, we may recognise the small arrowheads of two stairways running across them. To the right and left of these stairways, we will first find two smaller seating sections, and then we may identify two smooth corridors leading us back to the foyer.

Let us now return to the balcony. Proceeding upward, we will first find a raised surface which develops into a “U” or cup shape: this is where the balcony, bordered by a balustrade, opens onto the rest of the hall, located on floor -1 and portrayed in another panel. It appears here as a hollow area, flanked by two strips of checkered surface that represent additional balcony seating. The raised shape between the seating sections is a service lane closed to the public.

To the right and left of the balcony, as well as across the upper part of the panel just below the title, we will find irregular raised polygons: these are offices, workshops and other areas that are not usually accessible to the public.
 

The map portrays a floor plan of Teatro Grassi, specifically the stalls, located on floor -1 of the building.

Conventional signs

• The solid lines are walls;
• the checkered areas are the seats;
• the dashed rectangle outlines the stage;
• the multiple thin arrowheads are stairs and ramps;
• the filled raised surfaces are areas that are inaccessible to the general public or obstructions from structural elements;
• the dotted areas are the toilets; the cross marks the position of this panel. 
   

Exploration 
In the upper left corner of the map you will find the words “Teatro Grassi – Platea” (meaning “Stalls” in Italian) in large print and in braille, while in the upper right corner is the QR Code linking to this guide.

Now place both hands on the lower edge of the map and move your fingers slightly upward. You will find a thick solid line, running along roughly two-thirds of the lower edge of the panel. This is the perimeter wall of floor -1, interrupted by several markings: let us interpret them one by one. 

If we place our fingers on the lower right corner of the structure and slide them inward across the wall, we can identify a staircase represented by a coil of small arrowheads. These are arranged around the line of a wall forming a sort of right-angled “spiral”. This is one of the two staircases leading to the foyer on the ground floor; we find the other, symmetrical one, on the left side, beyond two vertical walls separated by a hollow space.

For the time being, let us return to the right-hand staircase and move our fingers slightly upward from the arrowheads. We will find a cross: this is where we are located in the stalls foyer. Moving slightly to the right from the cross we will find a gap in the vertical side of the building, representing an emergency exit.

Going back to the cross, and just above it, we can feel a raised square representing a pillar. By moving our fingers to the left, we will find three more pillars: the two middle ones are connected by a wall, whereas we will find openings between the outer and central pillars, which are the entrances to the stalls.

If we slide our hands upward from the pillars, we will find a large checkered surface occupying most of the central area of the panel. This is the stalls area, fenced at the top by a broken line outlining the raised proscenium. Just beyond this line, we find a dashed rectangle representing the stage area.

Continuing upward beyond the top of the stage, we will encounter a large irregular raised polygon. These are storage and service areas not accessible to the public. 

Let us now return to the lower part of the map and move to the left-hand staircase, which also leads to the ground floor. On its left side, we can feel a dotted area representing the toilets, which can be accessed from the corridor. Moving our fingers upward, we will find several horizontal walls dividing the different bathrooms. After passing the third and last one, let us follow the perimeter wall, which winds back vertically and presents an opening on the left side of the stalls: this opening is another emergency exit connecting the stalls to the outside.
 

The map portrays the ground floor plan of Teatro Studio Melato. The seating for this performance is arranged with front-facing stalls.

Conventional signs

• The thick solid lines are walls; the dashed square is the stage area;
• the filled raised squares are pillars;
• the checkered areas are the seats;
• the hollow shapes in solid line are the outlines of seating elements;
• the filled raised areas are areas that are inaccessible to the general public;
• the multiple thin arrowheads are stairs and ramps;
• the small crossed boxes are elevator shafts;
• the dotted arrows mark entrances and exits to/from the building;
• the dotted areas are the toilets;
• the diagonal-striped areas are the bar and cloakroom;
• the “B” in large print and in braille marks the ticket office;
• the cross marks the position of this panel.
   

Exploration
In the upper left corner of the map you will find the words “Teatro Studio Melato – Tribuna frontale” (meaning “Front-facing stand” in Italian) in large print and in braille, while in the upper right corner is the QR Code linking to this guide.

Now place both hands on the lower edge of the map and move your fingers slightly upward. You should be able to locate some dotted shapes — specifically three on the right side and one on the left. These are the arrows marking the entrance (on the left, pointing up) and the exits (on the right, pointing down) of the building.

Right where the arrows sit, we can find the actual gaps in the building perimeter, which is drawn in a thick solid line. The façade runs along the lower edge of the map: if we follow it to the right, in the lower right corner we will detect a dotted area crossed by some lines. These are the toilets and not far from here, a little higher up and to the left, we may also find several multiple arrowheads marking the stairs to the upper floors.

Now, touch the rightmost arrow and slide slightly upward, following the line of its tail: you’ll find a cross marking the position of this panel. This is where we are.

If instead, from the leftmost of the three exit arrows, we move our fingers upward we’ll find a small filled rectangle, which is a room that cannot be accessed by the public and, just above it, the arrows of another staircase leading to the three upper balconies.

Let us go back to following the perimeter of the theatre, starting from the toilets again and now climbing upward along the right side of the map. A little over halfway up the panel, we find another gap in the wall at the height of an emergency exit.

Let us continue upward along the perimeter and, just below the QR Code, we will reach a corner that bends sharply to the left. Here we immediately find the opening of an exit and, a little further on to the left, a second opening: these are both emergency exits.

We continue left along the perimeter, which bends at a right angle downward, then again to the left and again downward, forming a sort of step. If we proceed toward the left side of the map, after a small “bulge,” we will reach the edge of the building, where the wall picks up its vertical course. Here, too, we find a small inset in the outline with the gap of an access, normally reserved for performers but which doubles as an emergency exit.

Just below this exit, on the inside, we find a roughly square raised area which cannot be accessed by the public. To its right we should be able to identify the small crossed box representing an elevator shaft. From here we proceed downward over a wall and we will find two oblong vertical spaces separated by a horizontal wall, both covered in diagonal stripes: these are, in order, the cloakroom and the bar. 

A row of pillars on their left side separates these spaces from the foyer, which occupies the L-shaped empty space in the lower left part of the building. Against the left wall we’ll find the thin outlines of the seating elements in the foyer, while on the right — specifically at the bottom right in relation to the bar — we shall find a “B” in large print and in braille: this is the ticket office. 

If we move our hands from here upward to the right, toward the middle of the panel, we should quickly be able to identify the hall with its semi-circular, almost oval profile, which in its upper half presents a checkered surface: these are the seats of the tiered stands. Let us explore its shape with both hands: we will find two checkered areas almost in the centre of the space, side by side in a fan shape. On either side of these two sectors and between them, we may find the arrowheads of the stairs that provide access to the seats. Along the lower side runs a thin line forming a structure that is “wrapped” around the stalls; one of the stairways runs down the middle of this line. 

If we follow the solid semicircle of the hall perimeter, in addition to locating the openings of several access points, we will find at its upper right and upper left ends two “U”- shaped niches containing arrowheads: these are the stairs leading to the three upper balconies wrapped along the curve of the hall.

We continue upward and, beyond the smooth space just above the stalls, we will meet a dashed line. If we follow it we will find it draws a rectangular shape, to the right and left of which we may find the raised squares of some pillars. This space is the stage, which is on the same level as the rest of the hall.
 

The map portrays the ground floor plan of Teatro Studio Melato. The seating arrangement for this performance is in a semi-circular shape.

Conventional signs

• The thick solid lines are walls;
• the dashed square is the stage area;
• the filled raised squares are pillars;
• the checkered areas are the seats;
• the hollow shapes in solid line are the outlines of seating elements;
• the filled raised areas are areas that are inaccessible to the general public;
• the multiple thin arrowheads are stairs and ramps;
• the small crossed boxes are elevator shafts;
• the dotted arrows mark entrances and exits to/from the building;
• the dotted areas are the toilets;
• the diagonal-striped areas are the bar and cloakroom;
• the “B” in large print and in braille marks the ticket office;
• the cross marks the position of this panel.
   

Exploration
In the upper left corner of the map you will find the words “Teatro Studio Melato” in large print and in braille, while in the upper right corner is the QR Code linking to this guide.

Now place both hands on the lower edge of the map and move your fingers slightly upward. You should be able to locate some dotted shapes — specifically three on the right side and one on the left. These are the arrows marking the entrance (on the left, pointing up) and the exits (on the right, pointing down) of the building.

Right where the arrows sit, we can find the actual gaps in the building perimeter, which is drawn in a thick solid line. The façade runs along the lower edge of the map: if we follow it to the right, in the lower right corner we will detect a dotted area crossed by some lines. These are the toilets and not far from here, a little higher up and to the left, we may also find several multiple arrowheads marking the stairs to the upper floors.

Now, touch the rightmost arrow and slide slightly upward, following the line of its tail: you’ll find a cross marking the position of this panel. This is where we are.

If instead, from the leftmost of the three exit arrows, we move our fingers upward we’ll find a small filled rectangle, which is a room that cannot be accessed by the public and, just above it, the arrows of another staircase leading to the three upper balconies. 

Let us go back to following the perimeter of the theatre, starting from the toilets again and now climbing upward along the right side of the map. A little over halfway up the panel, we find another gap in the wall at the height of an emergency exit.

Let us continue upward along the perimeter and, just below the QR Code, we will reach a corner that bends sharply to the left. Here we immediately find the opening of an exit and, a little further on to the left, a second opening: these are both emergency exits.

We continue left along the perimeter, which bends at a right angle downward, then again to the left and again downward, forming a sort of step. If we proceed toward the left side of the map, after a small “bulge,” we will reach the edge of the building, where the wall picks up its vertical course. Here, too, we find a small inset in the outline with the gap of an access, normally reserved for performers but which doubles as an emergency exit.

Just below this exit, on the inside, we find a roughly square raised area which cannot be accessed by the public. To its right we should be able to identify the small crossed box representing an elevator shaft. From here we proceed downward over a wall and we will find two oblong vertical spaces separated by a horizontal wall, both covered in diagonal stripes: these are, in order, the cloakroom and the bar.

A row of pillars on their left side separates these spaces from the foyer, which occupies the L-shaped empty space in the lower left part of the building. Against the left wall we’ll find the thin outlines of the seating elements in the foyer, while on the right — specifically at the bottom right in relation to the bar — we shall find a “B” in large print and in braille: this is the ticket office.

If we move our hands from here upward to the right, toward the middle of the panel, we should quickly be able to identify the hall with its semi-circular, almost oval profile, traversed by the checkered texture of the stalls, spread out in a curved shape.

Let us explore this area with both hands. In between the various sections of the stalls, between one checkered area and another, we will find the arrowheads of the stairs leading up to the seats. If we follow the solid semicircle of the hall perimeter, after having identified the gaps of some access points, we will find at its upper right and upper left ends two “U”-shaped niches containing arrowheads: these are the stairs leading to the three upper balconies wrapped along the curve of the hall.

We continue upward and, beyond the smooth space just above the stalls, we will meet a dashed line. If we follow it we will find it draws a rectangular shape, to the right and left of which we may find the raised squares of some pillars. This space is the stage, which is on the same level as the rest of the hall.
 

HOW TO REACH US

Teatro Grassi 
Via Rovello 2, Milan
Tram lines 1, 2, 12, 14, 16, 19 – M1 Metro Station Cordusio, M1 Metro Station Cairoli 

Teatro Strehler 
Largo Greppi 1, Milan
Tram lines 2, 4, 12, 14 – Buses 57, 61 – M2 Metro Station Lanza

Scatola Magica c/o Teatro Strehler
Largo Greppi 1, Milan
Tram lines 2, 4, 12, 14 – Buses 57, 61 – M2 Metro Station Lanza

Teatro Studio Melato
Via Rivoli 6, Milan
Tram lines 2, 4, 12, 14 – Buses 57, 61 – M2 Metro Station Lanza

Chiostro Nina Vinchi
Via Rovello 2, Milan
Tram lines 1, 2, 12, 14, 16, 19 – M1 Metro Station Cordusio, M1 Metro Station Cairoli 
 

PERFORMANCE TIMES

Visit the page for the show you are interested in to see the times at which the individual performances begin. 
The theatres open to audiences one hour before the start of the performance. 
It is not possible to access the auditorium without a valid ticket or once the performance has started. 
 

WHERE AND HOW TO PURCHASE

On-line on piccoloteatro.org
It is possible to purchase subscriptions, and full-price or discounted tickets. 
Tickets can be purchased up to one hour before the beginning of scheduled performances. 

Teatro Strehler box office
Largo Greppi 1, Milan 
From Mondays to Saturdays 12.30PM–6PM 
Closed on Sundays and public holidays 
Payment can be made by credit card, Bancomat, Carta Cultura Giovani, Carta del Merito and Carta del Docente 
The box offices for the three theatres are exclusively for the scheduled performance, from one hour before it is due to begin. 

Box office line +39 02 21126116
From Mondays to Saturdays 12.30PM–6PM 
Closed on Sundays and public holidays
Payment can be made by credit card, Carta Cultura Giovani, Carta del Merito and Carta del Docente 

Purchased tickets cannot be cancelled or substituted or be used for dates or times which differ from those indicated.

PRICES

Discounted tickets for spectators under 12, under 26 or over 65 can be purchased either online or at the box office (a valid ID document must be shown).

SUBSCRIPTIONS

Two types of subscription are available, for 4 or 8 shows, Classic and ORO. 
There are also subscriptions available for groups and schools.
 

GROUPS AND SCHOOLS

For information and the purchase of tickets and subscriptions for groups and schools, contact the Ufficio promozione pubblico e proposte culturali on +39 02 72333216 or write to promozione.pubblico@piccoloteatromilano.it. 
 

ACCESSIBILITY

Our spaces offer routes that are free of architectural barriers and are equipped with toilets for the disabled. The auditoriums have reserved spaces for spectators with visual, hearing or motor-related disabilities.
The stalls at the Teatro Strehler have been designed to offer a magnetic induction amplification service for hearing loss or deafness.
Carriers of a Disability Card have the right to a 50% discount on the full ticket price for programmed shows. Discover all information regarding discounts.
 

AUDIENCE SERVICES

Each auditorium has a free cloakroom service and a bar. 

The Chiostro Nina Vinchi, adjacent to the Teatro Grassi, contains the Piccolo Café & Restaurant, which is open from Mondays to Sundays at the following times: Mondays 8AM-8PM; from Tuesdays to Fridays 8AM-midnight; Saturdays 10AM-midnight; Sundays 10AM-8PM. 

A card with a QR code for each show is available in the foyer, providing access to the Edizioni Piccolo Teatro App, which can be downloaded free of charge from the App Store and Google Play, and which contains all the show programmes, which are also available from our website on the pages dedicated to each individual show. 

The three theatre foyers also each have a small bookshop managed by Libreria Antigone selling the books from our publishing house as well as a selection of books dedicated to the season’s shows (Bancomat and credit card accepted).  
 

IN THE AUDITORIUM

It is forbidden to consume food or drinks, or use mobile phones, during the performance. 
Children under the age of 14 must be accompanied by an adult.
 

EVENTS AT THE PICCOLO

Initiatives and events can be organised in the venues and auditoriums in accordance with the show programme. 
Discover all the information regarding your event at the Piccolo.  
 

WORK WITH US

Discover all open positions. 
 

CONTACTS

Switchboard
02 723331

Box office line
02 21126116

Audience services
servizioalpubblico@piccoloteatromilano.it

Accessibility
accessibilita@piccoloteatromilano.it

Production and Organisation Department
produzione@piccoloteatromilano.it

Marketing and Communication Department
comunicazione@piccoloteatromilano.it

Ufficio promozione pubblico e proposte culturali
promozione.pubblico@piccoloteatromilano.it 

Press Office
piccolo.stampa@piccoloteatromilano.it

Archive
archivio@piccoloteatromilano.it

Scuola di Teatro Luca Ronconi
scuola@piccoloteatromilano.it

Image from the show Donna Rosita nubile by Federico Garcia Lorca, directed by Lluìs Pasqual. Photo © Attilio Marasco/Piccolo Teatro di Milano – Teatro d’Europa

The subscriptions for our 2025/26 season are on sale: choose your ideal formula to freely experience the theatre in a profitable way!
 

Piccolo <35

Join a young, dynamic and passionate community. Discover our SUMMER PROMO. 
Starting from €45

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ORO Subscriptions

Freely choose from all the shows of our season and come to the theatre in company. Discover our SUMMER PROMO.
Starting from €80

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Classic Subscriptions

Do not miss Piccolo productions and Italian and international co-productions.
Starting from €66

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Sotterraneo Subscription

Do not miss the shows of the Sotterraneo Special.
Full price €30

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Supporter Subscription

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SUBSCRIPTIONS FOR SCHOOLS AND GROUPS
Do you want to purchase subscriptions dedicated to schools and groups?
Contact our Ufficio promozione pubblico e proposte culturali by calling 02 72333216 or writing to promozione.pubblico@piccoloteatromilano.it.