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 20 minutes. Some are solos and some are duets. There is no music or background sound. There is dialogue and also no dialogue. The only set consists 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.

performances, residencies and links

     Theatre workshops begin with focused warm-ups, and progress to the introduction of concepts, followed by a selection of studies and experiments to be explored individually and in small groups under our direction. Participants work to create short compositional studies in order to delve deeply into the implications of an idea and its context through actual experience with its challenges and promises. We move back and forth between explanations of concepts and practical work on studies and experiments. Outcomes from each day’s work are observed, discussed and extended through suggestions  in order to distill the implications of ideas for form and performance in theatre. Relevant significant short readings are handed out and used for background reference.

We invent techniques that make form manifest in the finished performance works. For example, in a workshop we might explain and demonstrate the possibilities of “pivoting” “pivot-montage” and “counter-intuitive behavior,” and show how the compositional twists of “3-D time and 1-D space” and the idea of “depth of a moment” create paradox through composing an otherwise missing dimension in performance. New techniques, the reasons for making them, their social ramifications, and what they contribute to experimentation in art are the subjects of our workshops.


Currently we are hosted at the Krannert Center for the Performing Arts of the University of Illinois as artists-in-residence in a creative residency, ongoing.

Resident Company at Prop Thtr in Chicago

Past Artists-In-Residents at Daehangno Small Theatre Festival (D.FESTA), through the Korea Small Theatre Association, Korean Arts Council and the Korean Ministry of Culture, Sports and Tourism. This includes performances in Seoul and two other cities, as well as master-classes and workshops for professional actors,
and at universities.

Past Artists-In-Residents at Haja Center and Haja School, the Seoul Youth Factory for Alternative Culuture, Seoul, South Korea.


Discussion Q and A after a performance demonstration of 'napse and Still/Pulse by Lisa Fay at The Evergreen State College, Olympia, Washington, 2017

INTERVIEW for ARTS COUNCIL KOREA, December 2014 conducted by YU JIN-GYU,
Director of the Chuncheon International Mime Festival
webzine ARKO:

webzine Smile Politely:


Action at a Distance — THEATRE SANTA FE

Chaotic Structures: Action at a Distance – The Magazine


Stand up for good drama: Theater Grottesco | Performance

An interview with the Santa Fe New Mexican Pasatiempo Arts and Entertainment, in Santa Fe, April 2013

Link to Creative Capital's "On Our Radar" featured artists:

Link to Shari Baker's writing about our "Unknown Mask"
digital media collaboration production for Michigan State University Museum:

Link to our page at D.Festa: Daehangno Small Theatre Festival, Seoul, South Korea, 2014:

Link to Performances and master-classes, exhibit of scores, the EVENTUA Festival, Center for Contemporary Art
in conjunction with Theatre Grottesco, Santa Fe NM, April, 2013:

Link to Lecture-Demonstration, exhibit of scores, in series “Dialogue and Pattern”
at The Jewish Museum, NYC, March, 2013:

Link to Fay/Glassman on koreatheatre web site