Troupe «S» Hub

Welcome to the Greenroom of Troupe «S»

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

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

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

Overview

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.

Background

Currently Available Information:

●Modern Troupe:

The Modern Troupe (Troupe «S») was born at the end of the twentieth century. Its philosophy is strongly influenced by the avant-garde and its desire to awaken the audience through theatre. The group insists on the idea that art is for the audience, and abhors the idea of harming the audience too much for artistic effect. It has a partnership with the Foundation, and the anomalous products of its stage performances are generally kept by the Foundation.

The organisation currently has a theatre in Earth's umbra as its base. With the permission of the LG, one can use the interstage link to reach the stage of this theatre, or enter the theatre from the shadows of any location.

●Huaxia Theatrical Troupe:

The organisation was active in Republican China and was the largest anart group in the East at the time. However, it was not a large anart group, but a spontaneous association of small and medium-sized art groups.

The organisation was initiated by 'Liyuanfang' to protect the lives and heritage of its members from chaos. It eventually disappeared during the Second World War, when its legacy was scattered around the country during the war and went missing. Among the current objects of the Foundation, SCP-CN-1439 and SCP-CN-1518 have been identified as its anomalous objects/entities.

●Macedonian Troupe:

The Foundation knows little about this former organisation, which until serious and thorough investigation by the Foundation was regarded as a normal arts group. During the investigation of Troupe «S» and the legacy associated with the Huaxia Theatrical Troupe, the organisation was brought to the Foundation's attention on several occasions. During the investigation, the Foundation confirmed the anomalous nature of the organisation and that it operated under the name "Alexander Opera Troupe" during its anomalous activities. Some sources claim that all members of the group were women, but this information is questionable given the social background.

The group is thought to have been founded in the fourteenth century. It was active in various European countries and operated on a touring basis. It is known from some of the AWCY archives that the group had artistic exchanges with some AWCY members in the late nineteenth century, but the two sides eventually broke up over some philosophical differences.

The archives of the Huaxia Theatrical Troupe show that the organisation came to China in the early twentieth century and left a branch after an exchange with the Huaxia Theatrical Troupe. Its aim was to pursue the fusion of Eastern and Western stage arts, as well as the modernisation of theatre arts itself. The group disappeared during the Second World War and there is no evidence of its continued existence.

Plays

Objects

• SCP-CN-2169

Activity Logs

Collected Information

• An Ode To Transcendence
• Honour Of Die

GOI Formats

Troupe «S» has a casual GoI format. Just add credits in the beginning and then describe the stage

The following elements are mandatory in credits:

Script:
Originality:
Genre:
Director:

Besides, you can add as much credits as you like, but the default director is LG unless the reason is specifically stated.

Writing Guide

●Play:

The Troupe's GoI format "Play" is not just a script. It is a description of the stage on which the play is performed, from the point of view of the audience.

In the description, do not use overly simple psychological descriptions, such as "X thought to themself …" or "X had a moment of discomfort in their heart". Instead, use stage scenery, stage martial arts/action, character monologues or librettos to portray their psychology.

There are no restrictions on the genre of the play. Stage plays, musicals, Peking operas or even comic dialogues/manzai can be performed as plays, since they are all stage arts.

●Tale:

There are no restrictions on how a Troupe tale should be written. If you come across something that conflicts with the tale you want to write, you can consider just ignoring it.

You are also free to do whatever you like with the Troupe's characters, such as adding some characters or killing others (e.g. killing LG). All of these actions are allowed.

In fact, your Troupe story doesn't have to follow any particular timeline; the magic mirror that breaks in one story may be intact in another.

●Some Personal Advice:

Misaka19092nd's Advice:

i have no advice. if u really want some, make more tragedies. they are my favorites.

Bluecat Error's Advice:

You could also write your own creative content, like a Troupe TV show! You could write it in Wikipedia format, just like the description of a TV show you see on Wikipedia!