Torn Space Theater

### Context Profile for Torn Space Theater

1. **Organization Mission & Cause**:
   - **Mission**: Torn Space Theater is dedicated to creating innovative and immersive theatrical experiences that challenge and engage audiences. They aim to foster a deeper appreciation for the arts and provide a platform for diverse voices within the community.
   - **Cause**: The organization emphasizes the importance of theater as a medium for storytelling and cultural expression, aiming to enrich the local arts scene and provide educational opportunities through their programming.

2. **Type of Activities**:
   - **Events**: Torn Space Theater hosts various theatrical productions, workshops, and community engagement events. They recently held a "Phase Three Ribbon Cutting" ceremony to celebrate renovations, indicating ongoing development and investment in their facilities.
   - **Fundraising Campaigns**: They run capital campaigns to support renovations and operational costs, as evidenced by the recent capital campaign mentioned in their event.
   - **Community Programs**: The theater likely engages in outreach and educational programs, although specific details were not highlighted on the website.

3. **Tone of Voice**:
   - The tone of the website is **friendly, inviting, and professional**. It balances a sense of urgency and excitement, particularly in event announcements, while maintaining a welcoming atmosphere for community involvement. The use of exclamation points and celebratory language (e.g., "🎉 It's time to celebrate!") conveys enthusiasm.

4. **Emoji Usage**:
   - Torn Space Theater uses emojis sparingly but effectively in their communications. The use of celebratory emojis (like 🎉) in event promotions adds a friendly and approachable touch. They appear to use emojis primarily in informal communications, such as event announcements.

5. **Key Facts**:
   - **Founding Info**: Specific founding details were not available on the website. Further research may be needed to gather this information.
   - **Scale**: The organization has a total of 22 forms and has conducted 43 email campaigns, indicating active engagement with their audience.
   - **Impact Metrics**: While specific impact metrics were not detailed on the website, the emphasis on community involvement and capital campaigns suggests a focus on growth and sustainability.
   - **Volunteer Info**: Information about volunteer opportunities was not explicitly mentioned on the website; however, community engagement suggests that they may welcome volunteers.

6. **Writing Guidelines**:
   - **Style**: Use a friendly and inviting tone, incorporating elements of enthusiasm and celebration, especially when discussing events and community involvement.
   - **Structure**: Keep communications clear and concise, using bullet points or short paragraphs for readability.
   - **Engagement**: Encourage audience participation and feedback, making sure to highlight the impact of their contributions.
   - **Visuals**: Incorporate images and emojis where appropriate to enhance engagement and convey a sense of community.

### Summary
Torn Space Theater is a community-focused organization that values innovative storytelling through theater. Their communications should reflect their friendly and professional tone, utilize emojis to enhance engagement, and encourage community participation in their events and campaigns.

Free Registration

WAV_LENGTH_01By Temporary DistortionSunday, July 21Work-in-Progress Performance 4pm | Conference 5pmFree but registration required PROJECT DESCRIPTION WAV_LENGTH_01 is the first in a series of media art performances having to do with wavelengths of light and sound. Each performance in the series will serve as a monochromatic meditation on the human experience of a single color in the visible spectrum and a corresponding parallel sound. The series borrows structural elements and narrative resonance from Michael Snow’s 1967 experimental film, Wavelength, which Artforum hailed as “probably the most rigorously composed movie in existence.” Snow’s 45-minute slow zoom on an empty room, punctuated by four fleeting “human events,” provides an anti-narrative blueprint that interrogates the possibility of reframing spectatorship as a consciousness-altering exercise. Through this intricate framework, the WAV_LENGTH series will delve into the profound connections between sensory perception and emotional resonance, inviting audiences to immerse themselves in rich, monochromatic worlds where sight, sound and story have the potential to both converge or refract into individual wavelengths. WAV_LENGTH_01 is focused on red—thought to be the first color a newborn can discern, the last color we see before dying, and the first color to be named by primitive cultures all over the world. Each project in the series will survey the history, cultural coding, and sensual impact of a single hue, in order to explore how color resides not in light or material, but in the expansive variety of embodied observations made by the viewer. Color perception will be shown to be a complicated phenomenon that is relative, interdependent, and constantly in flux—interpreted by a perceiving body that is socially coded, individual, and unavoidably rife with history. The series as a whole will be used as a prism to perform an extended meditation on the contingent nature of color perception, or what Josef Albers called “the most relative medium in art.” Digital Arts and Technology in Performance: an interactive public discussion Following WAV_LENGTH_01 there will be an interactive public discussion on Digital Arts and Technology in Performance with Sarah Bay-Cheng (Dean of the School of the Arts, Media, Performance & Design at York University), Dan Shanahan (Artistic Director of Torn Space Theater, Melissa Meola (Associate Director of Torn Space Theater), Frank Napolski (lighting designer, Groupwork co-founder) and Kenneth Collins/John Sully (Temporary Distortion). This conversation will focus on some of the current experiments in live performance and digital media that will shape the future of contemporary theater. In addition to the use of digital media in the theater, we will discuss how AI, algorithms, and bleeding-edge digital technologies have the potential to impact the arts, pushing the boundaries of creativity, and offering new possibilities for storytelling. This event will bring together artists, academics, and audiences for a joint discussion to explore what lies ahead for digital technologies in the theatrical landscape. Sarah Bay-Cheng is Dean of the School of the Arts, Media, Performance & Design and Professor of Theatre & Performance Studies at York University in Toronto, Canada. Her research focuses on the intersections of media and performance, including four books, most recently Performance and Media: Taxonomies for a Changing Field (2015) and more than 100 essays, lectures and reviews. Bay-Cheng has taught as a Fulbright Senior Scholar in Media and Cultural Studies at Utrecht University in the Netherlands and a founding co-host for On TAP: A Theatre & Performance Studies Podcast. Kenneth Collins is Artistic Director of Temporary Distortion, a NYC-based contemporary performance company with the mission to create experimental work that is accessible to all. Temporary Distortion (named one of the “Best New York Theater companies” by TimeOut NY Magazine) has maintained its roots in downtown NYC as an invested stakeholder in the local community for over 20 years, while also showing work at notable venues in 30 cities across 14 countries around the world. Collins is Assistant Professor of Media Arts Production in the Department of Film & Media Arts at the University of Utah. John Sully is a three-time NYSCA award-winning composer, sound designer, multi-instrumentalist, and graduate of Yale’s Sound Design program who has been a core member of Temporary Distortion since joining the company in 2006. His music for stage and film has crossed the globe, including numerous cities in Asia, the Caribbean, Europe, Eastern Europe, Oceania, as well as North and South America. Sully is Audio Director at The Sarasota Players and Adjunct Professor of Music at the State College of Florida.

Hi <span contenteditable="false" data-custom-variable="{{firstname}}" fr-original-class="fr-deletable styled-tag-chip " fr-original-style style="background-color:rgb(248, 248, 255);border:1px solid rgb(191, 191, 255);border-radius:4px;color:rgb(42, 42, 196);display:inline-block;margin:0px;padding:1px 8px;font-size:11px;line-height:16px;overflow-wrap:anywhere;user-select:none;box-sizing:inherit">First name , Thank you for registering for the work-in-progress performance of WAV_LENGTH_01 by Temporary Distortion, followed by an artist conversation and conference. If you have any questions leading up to the event, please feel free to reach out: Torn Space Box Officetornspaceboxoffice@gmail.com

WAV_LENGTH_01By Temporary DistortionSunday, July 21Work-in-Progress Performance 4pm | Conference 5pmFree but registration required PROJECT DESCRIPTION WAV_LENGTH_01 is the first in a series of media art performances having to do with wavelengths of light and sound. Each performance in the series will serve as a monochromatic meditation on the human experience of a single color in the visible spectrum and a corresponding parallel sound. The series borrows structural elements and narrative resonance from Michael Snow’s 1967 experimental film, Wavelength, which Artforum hailed as “probably the most rigorously composed movie in existence.” Snow’s 45-minute slow zoom on an empty room, punctuated by four fleeting “human events,” provides an anti-narrative blueprint that interrogates the possibility of reframing spectatorship as a consciousness-altering exercise. Through this intricate framework, the WAV_LENGTH series will delve into the profound connections between sensory perception and emotional resonance, inviting audiences to immerse themselves in rich, monochromatic worlds where sight, sound and story have the potential to both converge or refract into individual wavelengths. WAV_LENGTH_01 is focused on red—thought to be the first color a newborn can discern, the last color we see before dying, and the first color to be named by primitive cultures all over the world. Each project in the series will survey the history, cultural coding, and sensual impact of a single hue, in order to explore how color resides not in light or material, but in the expansive variety of embodied observations made by the viewer. Color perception will be shown to be a complicated phenomenon that is relative, interdependent, and constantly in flux—interpreted by a perceiving body that is socially coded, individual, and unavoidably rife with history. The series as a whole will be used as a prism to perform an extended meditation on the contingent nature of color perception, or what Josef Albers called “the most relative medium in art.” Digital Arts and Technology in Performance: an interactive public discussion Following WAV_LENGTH_01 there will be an interactive public discussion on Digital Arts and Technology in Performance with Sarah Bay-Cheng (Dean of the School of the Arts, Media, Performance &amp; Design at York University), Dan Shanahan (Artistic Director of Torn Space Theater, Melissa Meola (Associate Director of Torn Space Theater), Frank Napolski (lighting designer, Groupwork co-founder) and Kenneth Collins/John Sully (Temporary Distortion). This conversation will focus on some of the current experiments in live performance and digital media that will shape the future of contemporary theater. In addition to the use of digital media in the theater, we will discuss how AI, algorithms, and bleeding-edge digital technologies have the potential to impact the arts, pushing the boundaries of creativity, and offering new possibilities for storytelling. This event will bring together artists, academics, and audiences for a joint discussion to explore what lies ahead for digital technologies in the theatrical landscape. Sarah Bay-Cheng is Dean of the School of the Arts, Media, Performance &amp; Design and Professor of Theatre &amp; Performance Studies at York University in Toronto, Canada. Her research focuses on the intersections of media and performance, including four books, most recently Performance and Media: Taxonomies for a Changing Field (2015) and more than 100 essays, lectures and reviews. Bay-Cheng has taught as a Fulbright Senior Scholar in Media and Cultural Studies at Utrecht University in the Netherlands and a founding co-host for On TAP: A Theatre &amp; Performance Studies Podcast. Kenneth Collins is Artistic Director of Temporary Distortion, a NYC-based contemporary performance company with the mission to create experimental work that is accessible to all. Temporary Distortion (named one of the “Best New York Theater companies” by TimeOut NY Magazine) has maintained its roots in downtown NYC as an invested stakeholder in the local community for over 20 years, while also showing work at notable venues in 30 cities across 14 countries around the world. Collins is Assistant Professor of Media Arts Production in the Department of Film &amp; Media Arts at the University of Utah. John Sully is a three-time NYSCA award-winning composer, sound designer, multi-instrumentalist, and graduate of Yale’s Sound Design program who has been a core member of Temporary Distortion since joining the company in 2006. His music for stage and film has crossed the globe, including numerous cities in Asia, the Caribbean, Europe, Eastern Europe, Oceania, as well as North and South America. Sully is Audio Director at The Sarasota Players and Adjunct Professor of Music at the State College of Florida.

Torn Space Theater

WAV_LENGTH_01

612 Fillmore Ave

Free Registration

Free

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