Prøverommet at METEOR

alphie hubbard

alphie hubbard (UK) works with drag, performance, installations, sculptures, drawings and text to explore the fluidity of relationships to the self and the body. They investigate the personal within the political, working with queer and transgender theory to explore embodiment, bodily autonomy, and the construction of identity. They use drag as a political tool to parody gendered norms with choreography, sound, video, costume and props. They perform as a drag king under the name of ‘Magic Dyke’.

untitled (man made) is a drag take on art history that queers the canon. It proposes a playful method for honouring the artists that come before us, whilst spotlighting queer and gender-complex interpretations of iconic artworks.

Moana Le Meur

Moana Le Meur is a multimedia artist based in Bergen. Through text, performance, sound, and textile, she investigates the subject of shelters and their politics.

The Anger of the Dogs / A Common Occurrence is a performance investigating anger, fear, reactions to threat, and its aftermath, throughdescriptions of dreams and the figure of the beast of the Gévaudant, a half historical, half mythical wolf-dog that terrified France in the 17th century.

Sanghoon Lee

Sanghoon Lee approaches choreography as a tool for philosophical investigation and dance as a manifestation of contemplation. His practice often involves crafting text-based dance scores to create a thought-scape for dancers to grapple with, where the act of grappling itself becomes an improvisational dance. “What was, no longer is, and never was” is a choreographic investigation of the moment when the border between mind and body starts to deconstruct.

The project will ask questions to explore further: is choreography capable of creating dance of undoing?  Can dance be a persistent act of dismantling?

What was, no longer is, and never was features:

Antonia Harke (GE/DK/NO) – Dancer
Ingvild Bertelsen (NO) – Dancer
Hee-Nam Son (KO) – Composer

Emilie Beske

EmilieBeske (she/her/they/them/friend) is a performer and creative stage artist with spiraling roots in theater. She investigates dramaturgy as movement rather than linearity. An investigation that began in autofiction and has since expanded into science fiction, speculative and radical fiction. In her performances, she often invites the monster into the stage light and lets mutation and kinship meet. Most recently, she has  worked with the spiral as form and process by creating one spiral every day, on light yellow paper. Over 100 days, it grew into the work 100 Spirals, which can soon be experienced at Gamle Munch in Oslo.

For Prøverommet, Emilie presents the performance perFORMing the Spiral based on the installation 100 Spirals, where a spiral being embodies the form.

August S. Geerlings

August S. Geerlings is an anti-disciplinary theater maker exposing the absurdity of a transcendental reality. August is grounded in poetry that he combines with physical action art. August is experimenting with deforming bodies and ritualistic practices.

‘Organ Retreat’: August shall be performing Holy Organ Magic. He will be exploring the inside of a human body (of a co-performer) by magically pulling out (non-reality) organs in different sizes, shapes, forms, materials and substances. These organs he shall give a detoxing organ treatment through different actions (massaging, reshaping, nurturing) to help them recover from a demanding society, before placing them back into the body, ready for the living world again.

Sandra Krah

Sandra Krah, born in 1981 in the former GDR (East Germany), is a trained occupational therapist, adult educator, and clown. She is currently studying in the international “Master in Performance” program and is thus part of the last generation of the NTA – Norwegian Theatre Academy in Fredrikstad.

“I am happy when I can hide” or “I will hide until there is peace in the world”

A clown enters an empty stage. S*he is wearing a predominantly white costume. The clown begins to hide. S*he plays hide-and-seek with themself and with the audience. The clown’s game of hide-and-seek plays with the simultaneity of the visible and the invisible. It is a clownish game in which hiding something reveals and makes something else visible. The clown’s game of hide-and-seek invites the audience to participate actively – both physically and mentally. With each new hiding place (or attempt to hide), what Yoko Ono once emphasised in her work Hide Me becomes increasingly clear: No one can really hide.

June Yeom & Kenny Weber

June Yeom (she/her, Jiyun Yeom) is a South Korean artist based in Germany with the diploma program of stage and costume design in Hfbk Dresden. Her practice is rooted in the experience of living between cultures and navigating the complexities of identity, belonging, and visibility. Often working from the perspective of a foreigner and outsider, she explores shifting perceptions of those who exist at the margins-migrants, strangers, and those placed outside dominant narratives. Through visual storytelling, performance, and installation, her work examines the layered self-shaped by displacement, dialogue, and contradiction.

Kenny Weber (he/they) is a queer site-specific performance artist initiating decolonizing rituals of becoming on stage and exploring relational bodies, dynamics in system and spatial affects. He is currently studying MA in Performance Art at Norwegian Theatre Academy and has a background in visual arts and journalism.

The sediments of memory, conscious or unconscious, accumulate to shape who we are. For Prøverommet they will present Body Scan, a performance and installation that seeks to inhabit that gap, the in-between space where memory resists fixed categories. By visualizing memories and their perceptual echoes, we question how our experiences are carried, altered, and reimagined within us. The work examines how perception is mediated through the act of seeing, reflecting, projecting, and being projected onto. The body becomes both a vessel and an interface, a cyborgian site where comprehension and expression coexist in uncertainty, suspended between memory, space, feeling, and form.

Nora Lindelöw

Nora Lindelöw works in the intersections of performance, fashion semiotics, sound, moving image and installation. She exists somewhere between project plans and unfinished poetry.

Where beauty and mess share the same plate. Unsettling the table for my father is a performance rooted in fashion rituals. Where the runway becomes a site of critique rather than consumption. She uses the format of outfit creations, setting a table and servings of food, to question power, appetite, and beauty rituals. The show stages a confrontation with authority: my father sits as the key witness, both personally significant and symbolically standing for the white male figure who dominates the top tiers of the fashion industry.

Silvia Kostolanská

Silvia Kostolanská, a Slovak scenographer based in Norway, currently completing her master’s degree at the Norwegian Theatre Academy in Fredrikstad. With a background in architecture, Silvia works across spatial, object, and costume design, exploring imagination, subcreation, and the emotional logic of fantasy. Her practice often touches on themes of identity, feminism, and mental health and other topics she is passionate about.

Oyster’s Shrieks is a short atmospheric film developed as part of her ongoing exploration of an imagined underwater world. It drifts between dreamy and eerie moods, combining sound, texture, and rhythm to evoke both seductive beauty and unease. The film serves as a small tryout for Silvia’s master project, inviting reflection and feedback on how this world can take shape scenographically.

What is Prøverommet?

Prøverommet has been running since 1998, originally in the bar of BIT’s former venue Teatergarasjen for 10 years, now popping up at various venues throughout the seasons. It’s a social and low threshold environment to try out new artistic material in front of an audience using any medium: dance, theatre, poetry, visual art, music… The programme is open to everyone to apply or attend, with at least 10 events per year. Almost 2500 projects have been presented so far!

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