Troupe «S» Hub
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Welcome to the Greenroom of Troupe «S»

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We are a stage arts organisation. A stage is composed of both those who perform and those who are spectators. The performers star on stage, and as long as the spectators wish for them to be there, they will remain. In this case, both the stage and the performers are there to serve the spectators. Our art is never about solitary self-satisfaction; we aspire to awaken our spectators through theatre.
In our pursuit of stagecraft, we often find some by-products. These by-products are people, objects or even the re-enactment or rebirth of certain events in reality. Although these by-products are not our intentional creations, we begin to think about something other than art in the face of the world that emerges from the imaginary scripts.
What is 'in character' and 'out of character'? How long is the distance between onstage and offstage? Do we really leave the camera when we step off the stage? Do we really step out of the imaginary script into the real world? These are the questions that will probably continue throughout my false and short life. And the answers to them will be part of the Troupe's pursuit.
—LG

It is important for us to recognise that the stage in front of the Troupe is not a traditional one. Multiple feedbacks, in the traditional sense, cannot be realised in this particular stage space.
The psychological communication between the performers is completely hidden behind the scenes, and so they become almost a whole, in which a dramatic situation constructed by one of them is perfectly experienced by the other. The reason for this is that the whole does not play characters, but is the characters themselves. But we are different. We have to play roles. Without feedback between the performers, we still have to grasp exactly the dramatic situation that the whole conveys to us, so we have to "be in character", we have to pretend to have forgotten something.
The traditional feedback between spectators and performers requires them to be in the same space and time. The creative psychology of the performers and the aesthetic psychology of the spectators constitute a complementary relationship. But in the space in front of us, we do not have immediate access to the spectators' feedback for a complete artistic process. The spectators watch theatre videos played on a computer, with the monitor being the unmovable frame of the stage. Therefore, we can conclude that in this space, the traditional feedback between spectators and performers is dysfunctional. The absolute temporal and spatial barrier cuts off our access to the spectators' psyche. We may use canons to deceive ourselves, lying to ourselves how we override the work, and how we keep on building direct feedback with the actual audience.
But it is pointless.
The psychological communication between performers is completely hidden behind the scenes, blinding us to the psychology of other performers; the feedback between performers and spectators is completely cut off by the stage frame, closing our ears to the 'coughing of the audience'. In this particular space, we are deaf and blind.
Fortunately, the single-hearted multiheaded giant is still there.

The train has left the last Station, and reached the next Stage

Troupe «S» is a small anomalous performance team consisting of a plurality of people. This organisation creates anomalous objects and entities through anomalous stagecraft. Its leader is "LG", a Person of Interest.

Troupe «S» originated in China in the late twentieth century. However, research has revealed that the organization is inextricably linked to two ancient anart groups in the East and West. Based on the information available, it is suspected that the organization is the successor to the two groups.

Currently the main anomalous ability exhibited by "LG" or the members is "dramatization", an anomalous phenomenon in which "a large number of low-probability events cause events to develop in an unexpected direction", which is usually accompanied by the extraction, imitation and re-framing of elements from works in the literary history.

Since the potential possibilities of this anomaly are diverse and highly risky in principle (e.g., probability manipulation, pataphysical techniques, etc.), the anomalous nature of the organization as a whole must be explained during the observation and containment of personnel with sufficient literary and artistic appreciation.

In addition, considering the current friendly attitude of Troupe «S» toward the Foundation, and the fact that any violence against its members will be deactivated by the "dramatization" from its anomalous nature, the Foundation should keep a watchful eye on its members and strictly control the outflow of anomalous objects created by the organization. Considering the fact that Troupe «S» has little knowledge of the structure, status, activities, and contained objects of the Foundation, it is important to strictly control the outflow of information when contacting its members.

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