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We invent systems for organizing raw elements of theatre, compose in these systems, and originate performance techniques required by them — to make embodied composition. The invention of notated graphic scores is central to this process.
Each piece acts as a formal ‘filter’ for critically viewing anew. Real-time, live and unmediated formal ‘filters’ include instantaneous shifts through patterns of time and place, ‘cinematic’ reversals of movement-gravity, and a repertory of counter-intuitive behaviors.
Our performances are combinations of free-standing compositions, usually about 6 pieces, sequenced as if in a concert with blackouts in between pieces. Each piece has its own world, its own structural rules, its own compositional premises.
Likely, we will have several long-lived pieces from our repertory and one or two new ones. Total show time is about 75 minutes. The pieces range in duration between 3 minutes and 25 minutes. Some are solos and some are duets. There is no music or background sound. There is dialogue and also no dialogue. The stage space is organized by a set of 15 rolling black velveteen flats from which the performers emerge and disappear, bringing the off-stage space on-stage. The props consist of small pieces of furniture and hand props.
Our work is small, analogue, acoustic and on a fine scale – best seen in intimate settings where the impossibilities are undeniably live. Analogous to animation, exact composition of each frame is needed for the whole to work – a scale that is jarring yet seamless and seemingly natural. Contradictions play out with an air of stubborn continuity. Our process is meticulous while open to the surprises of new form.