The Horror

a pair of theaters accretes in the drips and leaks that constitute the vicissitudes of live theater, the play between the script and its deviations.  

in this waking nightmare, the mechanics of the fly tower serve both as the means through which the one theater leaks into its other as well as the infrastructure that disciplines that leakage.

the larger host theater funnels its audience into a uniform orientation to the proscenium frame of the stage. the captive audience is received at its end by the fly tower.

the second viral theater propagates in the extended scaffolding of the fly tower that wraps the terminus of the host theater.

sharing a fixed stage, the two theaters operate entangled in degrees of disclosure and interference. this spectrum manifests in four potential configurations. 

in the first, the host theater is active, the viral dormant and out of sight, resting in the ether of the fly tower, awaiting its ascendence.

in the second, the viral theater usurps the stage, its seating blocking the performance’s bond to the captive host audience.

in the third, the host and viral theaters are both active, sharing the stage. the viral audience seating rests as an extension of the host.

in the final format, both audiences face the stage but without an explicit awareness of the other’s presence. the viral audience lurks on the periphery.