The Company
Founded in 2001 in New York and now rooted between Geneva and international stages, Dangerous Ground Productions creates immersive works that fuse theatre, cinema, and performance into a single, live, destabilizing event. Our practice—often described as live-cinema—transforms buildings, landscapes, and forgotten architectures into sensorial laboratories where real-time camera work, choreography, text, and space collide.
Led by director Doris Mirescu, the company draws from the radical legacies of filmmakers such as John Cassavetes, Rainer Werner Fassbinder, Bette Gordon and the experimental traditions of New York’s downtown scene. Across site-specific creations—from abandoned factories to brownstones, cinemas, and urban ruins—we explore the politics of gaze, desire, memory, and the cinematic unconscious.
Our works reactivate spaces by treating them as partners rather than containers. Cameras wander through corridors, rooftops, projection booths, and city streets; screens erupt in unexpected places; performers navigate simultaneity, fragmentation, and intimacy. The audience is not placed “in front of” an artwork but inside a shifting field of images, bodies, and architectures.
Dangerous Ground is committed to feminist and de-hierarchized artistic methodologies. We champion collaborative processes, transdisciplinary experimentation, and the belief that performance can expose the hidden narratives of places—revealing what persists, what haunts, and what demands to be seen.
From New York to Geneva, from the abandoned buildings to industrial sites and theatre stages, our mission remains the same:
To make the invisible visible, to film the unfilmable, and to create live experiences that move, disorient, and transform.
Dangerous Ground has created multimedia works in New York City and abroad, including Variety, a world-premiere multimedia adaptation of Bette Gordon’s 1983 film, 8≠1, a multimedia adaptation of Rainer Werner Fassbinder's 1972 eight hour long tv series Acht Stunden sind kein Tag performed in a Swiss abandoned factory, S. a live cinema event based on Andrei Tarkovsky's 1972 film Solaris (Site Specific- Upper West Side), Paris Belongs to Us, a mutlimedia adaptation of Jacques Rivette's 1958 film (The Brick) and L'Amour Fou, a mutlimedia adaptation of Jacques Rivette's 1969 film (The Brick), ...But the Next Morning(based on Jacques Rivette's 1974 film Céline and Julie go Boating), It's Too Late (based on Jean Eustache's film The Mother and The Whore), John Cassavetes’ Husbands, Fassbinder’s In a Year with 13 Moons ( From Dawn till Night), Beware of A Holy Whore and The Third Generation (3!), Bertolucci’s Last Tango in Paris, as well as Maurice Blanchot’s Madness of Day, Neil LaBute’s The Distance from Here and Koltès’ Battle of Black and Dogs.
Statement
We work in the shadows between theatre and cinema, where the frame breaks open and reality spills through the cracks. Dangerous Ground is not a stage but a territory—a shifting zone of bodies, cameras, memories, and ghosts. A place where images breathe, where architecture remembers, where desire becomes a script written in real time. We enter buildings the way one enters a dream, listening to walls, dust, neons, to everything that has been forgotten or erased.
These spaces are our collaborators. They lend us their histories, their wounds, their secret light. With them, we build performances that unfold like encounters— immediate, unstable, alive. Our work is a politics of attention. A feminism of the gaze. A commitment to those who stand at the edges of the frame and insist on being seen. We reject the smoothness of spectacle in favor of the raw, the fragile, the trembling. We trust the accident, the detour, the unrepeatable moment.
We film what escapes cinema. We stage what refuses theatre. Every performance is a constellation: bodies moving through corridors, screens flickering like nervous hearts,
cameras searching for truth in the margins, sound vibrating inside lost architectures.
We fragment, we multiply, we rewrite. We turn the spectators into witnesses and the witnesses into participants.
Dangerous Ground is a place of risk and renewal. A laboratory of vision. A refusal of resignation. We work so that images may become questions, and questions may become movements, and movements may become futures.
We believe in art that unsettles. Art that opens space. Art that reveals what is normally hidden— the desire under the gesture, the power inside the look, the story in the ruin.
We make performances to remember that every space has a pulse, every body has a history, every image has a cost. And we stand here, between cinema and life, on dangerous ground, to make the invisible visible and the visible uncertain again.