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additional name:
Signa Sorensen, Arthur Kostler
chaos, contrast, cult, history, longing, myth, ritual
Performing Arts (interactive performance, performance)
Europe, Nordic, Europe, Western, Europe, Eastern
Denmark, Germany, Romania
created on:
September 20, 2007
last changed on:
Please note: This page has not been updated since September 25, 2007. We decided to keep it online because we think the information is still valuable.
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Theatre in a real world environment

In their quest for novel ´´site specific´´ locations for environmental theatre, Signa takes audiences into abandoned hospitals, hotels, converted warehouses and camps, with a series of performance-art events featuring downtown artists and involving the audiences as part of the story´s life.
Signa Sorensen started to work on her concept of living installations in 2001; since then she has realized 13 productions.
She does not have a regular group of actors but works with Arthur Kostler and various other performers, according to each project and the country where she realizes the productions. She started to be interested in installations during her studies in Art School. "I had a sensation of dissatisfaction. The public was coming but it was somehow absent: the public was looking at me and it was quiet ", Signa comments. During the same period, she was employed as a dancer in a night-club and she started to experience a completely different relationship with an audience. "Better I was relating and more money was coming. Then something clicked in my mind and I saw that it would be good to combine the installation and the relationship with the public. Then I began to mount an installation to be lived (inhabited)".
Signa calls her living installations “ambient theatre”, or “environmental theatre”, which is a spectacle where the space dictates the script that the performers execute. The group prepares the space to be inhabited both by the performers and by the public. The idea is developed and explored together with her actors and the story takes shape after seeing the space which physically becomes the subject and the character of the performance. The space is explored in its entire variants: architectural-space, psychological-space, dream-space, sound-space, memory-space. The spatial identity explodes through a cumulative event that explores the relationship between histories, cities and memory. A living installation can last between 3-7 days of non-stop performance, 24 hours per day.
Conceptually Signa’s performances explore the limit between reality and fiction, the performance and the audience, audience and artists. The space therefore is imagined as an environment allowing the audience to have individual experiences. In the living installations that Signa creates, the audience does not sit and watch but is invited to walk about and intervene, creating a unique connection. The audience’s experience is absolutely personal and the spectators themselves become part of the performance as they interact with the artists in an organized ambience.
Signa plays with the notion of TV reality shows. The public is trapped in a real performance of fiction. The stories staged become the reality of the space, characters and audience. The magic is drawn by the experiences in real time, the direct communication and audience participation.
Signa’s performances aim to create a new sense of space. Images, objects and metaphors (spaceships, living rooms etc) are being used to express the urge for designing a space for living. In this way, rooms are being organized in order to adapt to a new cultural experience which is related to space as an experience, spaces to live in.
Author: Corina Oprea


SIGNA is an artistic partnership formed by Signa Sørensen and Arthur Köstler. Signa Sørensen (born 1975), performance-installation designer and performer. BA in art history, film and media studies. She is also inspired by her past as a champagne girl and ‘private dancer’ on the Copenhagen night club scene. In 2004, she formed an artistic partnership with Arthur Köstler (born 1972 in Austria) Master of fine arts from the Royal Danish Art Academy.


The Circle Camp

Production / Performance,
he Circle Camp is the beginning of the Martha Rubin-project about oracle Martha Rubin, who grew up in a circus and became a graceful dancer. Later her unique gift turned her into a marketplace attraction all over Europe - until she disappeared without a trace in 1913. Members of Martha Rubin Society live isolated from society and follow the oracle’s commands in city peripheries. They have built a camp around a circle of earth, stone and chalk and play her oracle-games non-stop for 38 hours.

The Black Rose Trick

Production / Performance,
The audience is invited to explore the many rooms and secrets of a strange hotel, which is under observation 24 hours a day by 16 cameras. Fifty performers inhabit the installation, working as chambermaids, nurses, soldiers, hustlers and stars. Times are hard and hearts corrupted and, in a web of crime and mystery, no one is innocent. Premiered in Malmö.

Seven Tales of Misery

An analog electro-acoustic performance, a continuously progressive story introducing a religious movement and their idea of how to save the world from misery.

Secret Girl

Production / Performance,
A woman is found drowned in a lake and brought back to life by two men, forming a violent and paranoid partnership. She seems to have no memories of her past life but also to have a strange and fatal knowledge. Through rituals and various explorations of her body, the men try to extract and decode her secrets. Has been performed in an abandoned prison in the town of Meiningen in the former East Germany

57 beds

Production / Performance,
The audience moves past 57 occupied or deserted beds, placed in long rows. The staging revolves around a pile of crashed and burned out cars and a long table set up for a wedding banquet. The installation also features a cocktail bar, a roadside cafe, a border checkpoint, and a huge dancehall stage. Originally performed by 42 artists. A smaller version was re-created in 2005 in Argentina with the participation of local performers.

Night Finder I-III

Production / Performance,
A series of nomadic installation projects, set up in and around camping trailers. In a sort of modern cult site, the performers piece together through loosely-connected, improvised rituals their own personal magic. The work explores a variety of female stereotypes and guises: including a dead prostitute, an expectant bride, a murderess and a saint.

Twin Life I-IV

Production / Performance,
A series of performance installations, based on the story of Polish-born Nika Zabrisky and her twin sister. The audience follows the course of this mysterious, manipulative and self-promoting young woman’s illness, staged suicide, and resurrection.


The Danish Stage Directors´ Prize of Honor 2006
Malmö-Lundapriset 2005 for best theatre
Statens Kunstfonds work grant for one year 2005
Supported by Wilhelm Hansen Fonden in 2003 and 2004
Bisballe-prisen in 2005.


This artist took part in the following project(s) organized/funded by the partner institutions.

Black/North SEAS

The SEAS Platform 2008-2010

(02 December 05 - 31 December 10)



The Circle Camp
The Black Rose Trick
Seven Tales of Misery
Night Finder
Twin Life