Liz Rosenfeld

Inspired by the Greek Myth concerning the constellations Ursa Major and Ursa Minor, also known as the big a little bear, Liz Rosenfeld shares an immersive cinematic experience about two bodies in various kinds of transitions, deep intimacy and kinship. A special kind of love letter to Rosenfeld's obsession with holes, URSA- X navigates the story of an unfillable hole called URSA. Liz Rosenfeld and R. Justin Hunt have been queer kin and artistic collaborators for over a decade. Both hail from backgrounds in various performance practices and theory, as well film and text. Invited by Liz, URSA- X was created with a team of collaborators who have responded to the questions of transitions, holes, desire, and longing through their expertise and practice in light, sound, text, dramaturgy, costumes and stage design. Visual Artist Sadie Weis, with construction and visionary support from Tech Director Elliott Cennetoglu, has envisioned a landscape inspired by the holy landscape of Mercury, the only ungendered planet in the solar system. Through light, designer/ artist Joseph Wegmann responds to desire and how holes can serve as timeless portals. Creating a cyclical filmic score, sound artist Neda Sanai has designed a sonic journey with no specific end or beginning. Additionally, sound artist Shara Heshiimu supports this vision, with a special track created for this landscape. Writer Johanna Linsely explores the obsession and nature of holes in a commissioned text for the stage. Together dramaturg an*dre neely and access dramaturg Noa Winter have considered how the bodies of this hole can be seen and supported creatively. Costume designer Marquet Lee approaches our bodies as skin, and the becoming of what shedding and regeneration can be. Producer Anna von Glasenapp and Artistic Assistant Alex Piasente hold this hole together.

Content Notes

• The show is not suitable for people experiencing Trypophobia (fear of holes).
• Full nudity
• Mentioning of sexual acts
• Explicit description of food and eating

Relaxed Performance

• Noises and movements from the audience are explicitly welcome. Visitors can leave and return at any time.
• There is a chill out space (with weighted/unweighted pillows, weighted/unweighted blankets, noise-cancelling headphones, earplugs and stim-toys) next door that is available during the performance.

Pre-Show Access

• Starting 60 minutes before every performance you can meet our access dramaturg in the foyer in front of k1.
• The access dramaturg will be there to talk you through the access of the performance and answer questions related to your individual access needs.
• At 19:00 you will be able to enter the performance space with the access dramaturg for some minutes, to make yourself familiar with the space and choose a seat that matches your access needs. On request, it is also possible to experience strong lights or sounds.

Light

• Light-intense performance with dark scenes
• Light circle surrounding the dance floor
• occasionally pulsating or blinding lights in some parts of the audience
• light projections in several intense colours on the ceiling and wall
• In two scenes, animated projections of hole drawing will be projected, sometimes onto the audience.
• In one scene, an unsteady moving round light objects is used.

Sound

• several scenes with loud music
• regularly bass music and vibrations that can be felt physically
• Various sounds are produced with metallic foil as well as latex gloves.
• In a very dark scene, holes are repeatedly poked in the foil with a loud noise.
• In one scene, the soundscape works with a pulsating heartbeat for several minutes.

Other effects

• Stage fog is used.

Audience

• suitable from the age of 16
• The audience is seated in a circle around the performance space.
• Most of the seating options are step-free accessible (chairs with backrest, beanbags, wheelchair seats).
• 4 beanbag seats bookable according to availability
• 2 wheelchair seats bookable according to availability
• The Audience is invited to move and leave/re-enter the space at any time during the performance. A chill-out space will be provided next door.
• The performers might come close to the audience, but without any physical contact.
• During the performance, a costume made of fur is handled several times near the audience.