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.
Who
Doris Mirescu
FOUNDER AND DIRECTOR
Romanian-born transdisciplinary theatre maker and the founder of Dangerous Ground Productions, the New York–based multimedia theatre company known for its radical “live-cinema” experiments blending performance, film, and site-specific architecture.
Her most recent works include VARIETY, the world-premiere multimedia adaptation of Bette Gordon’s 1983 eponymous film created inside Geneva’s former adult cinema Le Splendid; 8≠1, a site-specific adaptation of Acht Stunden sind kein Tag; and S., a live-cinema reinvention of Solaris, performed inside a New York brownstone. She previously created Paris Belongs to Us and L’Amour Fou, multimedia adaptations of Paris nous appartient and L'Amour fou, both presented at The Brick Theater as part of 3 by Rivette. Other Rivette- and Eustache-inspired site-specific installations include …But the Next Morning, after Céline and Julie Go Boating, and It’s Too Late, dedicated to The Mother and the Whore, both presented at Scapegrace in Brooklyn.
Other projects also include From Dawn Till Night (after Fassbinder’s In a Year with 13 Moons at the 2010 undergroundzero festival at PS122); the multimedia staging of Husbands at the Under the Radar Festival/The Public Theater; and 3!, her experimental adaptation of Fassbinder’s The Third Generation, which won the festival’s Best Production Prize at PS122.
She has also directed Beware of a Holy Whore at the SVA Theatre; Last Tango in Paris; Madness of Day, based on Maurice Blanchot’s La Folie du Jour; and The Distance from Here, all at Tom Noonan’s Paradise Factory. Additional directing credits include the U.S. premiere of Paul Solomon’s Aching to Go Home (Epic Center Theatre, Kalamazoo), Bernard-Marie Koltès’ Battle of Black and Dogs (as part of the Koltès New York 2003 festival at the Ohio Theater), Story of Rats after Georges Bataille (Chashama), and the European premiere of Véronique Olmi’s Les Nuits Sans Lune (Parc de la Villette, Paris). She has also staged Silence of Snow (NY Fringe/Soho Rep) and Jean Cocteau’s The Handsome Hunk.
Mirescu previously served as assistant director to French director Brigitte Jaques on productions at La Comédie de Genève and at Western Michigan University. She is a four-time recipient of Etant Donnés, the French-American Fund for Performing Arts.
She holds a Summa Cum Laude MA in French Literature from Paris-IV Sorbonne and an MFA in Theatre Directing from Columbia University. She has taught Advanced Acting and Directing at the School of Visual Arts, and served as adjunct faculty in the PIMA program at Brooklyn College. Her writing and translation work includes contributions to the Swiss cultural magazine Scènes, and translation/interpretation for Lincoln Center Theater and the French Cultural Services in New York. She is an alumna of the Lincoln Center Theater Directors Lab.
Chiara Alessia Cioni
PRODUCTION COORDINATOR
Born in Naples in 1997, yet her soul has always danced beyond borders. Raised between Beijing, Warsaw, Brussels, Lugano, and Geneva, she carries within her a mosaic of cultures that shapes her gaze and her gestures. Graduated in Management in Geneva, with a master’s in Arts & Culture Management, she chooses to inhabit the space where reason and creation meet.
She nurtures her passion for art and dance through contemporary projects such as Danser un Instant…Ensemble, an adaptation of Noemi Lapzeson brought by Marcela San Pedro to the Kulturerbe Tanz festival in Delémont, Switzerland, and Témoign-âges, a feminist project guided by the C2C company in Geneva, where the body-as-history becomes collective in sisterhood, in an intergenerational and inclusive spirit.
As a production coordinator, her artistic research fuels her professional approach: the need to tell, to inspire, and to capture sensations becomes a way of shaping processes, guiding teams, and holding space for creation. In her work, movement, self‑exploration, and empathy intertwine like a breath taking form on stage, offering a sensibility that enriches every project she helps bring to life.
Anne Laudet
HEAD OF COMMUNICATIONS & PARTNERSHIPS
A graduate of Sciences Po Lyon (France) and UCLA, Anne works where art meets narrative and strategy meets impact.
Her path has unfolded within visual ecosystems supporting emerging talents, alongside an international career developed in collaboration with several media outlets. Across borders and disciplines, she has cultivated a sharp sensitivity to cultural contexts, narratives, and the power of visibility — with a particular commitment to women artists and stories that resist silence. She is drawn to spaces where creation becomes dialogue, and where culture has the power to question, illuminate, and connect.
Her encounter with Dangerous Ground — and with Doris Mirescu — happened one summer night in New York, on the set of a play by Rainer Werner Fassbinder. It was an immediate spark — a shared artistic language, an instinctive understanding, the kind of creative collision that feels both unexpected and inevitable.
Today, as Head of Communications & Partnerships, she crafts meaningful alliances and shapes narratives that extend beyond the stage. Guided by curiosity and a belief in the transformative force of images and visual storytelling, Anne approaches communication as an artistic act in itself — one that can shift perspectives and open new ground.
Marshall Miller
TECHNICAL DIRECTOR
Technical direction, image, lights, sound. Architect of the technological landscape of live cinema: multicamera setups, projections, live capture, spatial image.
Marshall Miller has had the privilege of living a richly layered life in the arts. He has worked as a technician, technical director, and stage manager across theatre, film, television and live music. Among his favorite projects are installing speaker systems for Willie Nelson and lighting for Nicki Minaj. He designed an audio system with David Byrne and ran video on sets for Tina Fey, Martin Scorsese, and Steven Spielberg. He has shaped the visual worlds of Mark Wing-Davey, Alex Timbers, Robert Woodruff and Peter Brook.
Yet of all these experiences, none has been as rewarding as his collaboration with Doris Mirescu. Since 2010, Marshall has worked with her on more than half a dozen film-to-stage adaptations. He is deeply grateful to Doris, to the company, and to his loving mother for this new opportunity to work, to learn, and to grow. In a room full of fearless artists, anything becomes possible.
The Ursula Flavor
PERFORMER
Embodied by a young Lausanne based woman of French origin, Ms. Flavor practices the art of burlesque striptease, a delicious blend of boldness, glamour, sensuality, and expressive play. Gifted with natural stage presence, it was only a matter of time before she threw herself body and soul into this world.
Her love of retro aesthetics and pinup culture comes from her admiration, almost a kind of devotion, for her grandmother, who lived her most radiant years in the 1950s. The comedic instinct, essential to the grotesque edge of burlesque, grew from the protective shell she built while learning to ignore the gaze of others. As for her attraction to dance: using her body has always been a truer form of expression than using her voice.
After trying several dance styles that never quite fit, she was spotted on the streets of Paris while sitting on a café terrace. An opportunity appeared… First hired as a hostess, she eventually ventured into a form of gogo dancing in which she removed certain pieces of her costume. Then came a nearly tenyear pause: a marriage, a changing body, a divorce, and the encounter with Misty Lotus (international burlesque performer, producer, and director of the Swiss Burlesque Academy in Lausanne). And just like that, she returned, ready once again to seduce and shine on stage.