THE MILLION UNDERSCORES

We are THE MILLION UNDERSCORES _ _
We've been making experiments in theater since 2013.
We develop original theater pieces with an ensemble of artists, inquiring into the form of theater as a medium, and experimenting with different processes of collective composition, spatial dramaturgy and juxtaposing aesthetics. This is a labour of love; it is time intensive, physically present, and very rewarding. We produce, develop, perform, design and hold three different tracks of programming in addition to our theatrical works. 
We want to be able to compensate our performers and collaborators both economically and through events that foster and celebrate our community.
Besides our theater productions we also teach Six Viewpoints, improvisation and composition classes; hold performance research workshops; and host short-play readings that are open to the general public.
Your donation will support not just one project but an entire system of transformation, art making and art sharing. Thank you for your generosity!
 
THE MILLION UNDERSCORES is an experimental theater company based in Brooklyn under the artistic direction of Nicolás Noreña. Founded in Summer 2013  the company has developed alongside a qualitative study of numbers, and experiments in aesthetic drive, abstract composition, and collaborative writing.

We make highly visual and physical eccentric theater works that interrogate the action and the form of theater.

We value every element of performance as an independent voice. Through density, multi-directionality and juxtaposition we generate fields for the audience to notice, think and reify modes of perception, organization and understanding.

​We believe Theater is an arrangement of the elements of reality-- an architecture that invites a certain way of seeing. Each of our projects reorganizes theater in a different way: we have done a show that looped until all audience members left the theater; a show performed for two audience members at a time; another in which all the audio played in the audience's headphones and different people in the audience received different tracks; another in which the order of the scenes was set at the beginning of the performance by chance operations; another in which each scene was written by a different playwright. We are interested in entering a relationship with the audience where their reading of the piece finishes the work, making them part of the artistic process.