Transversal Theater Company

The Transversal Theater Company (TTC) is a nonprofit organization of American and European artists based in Amsterdam. Founded in 2003 by Bryan Reynolds, Lonnie Alcaraz, Douglas-Scott Goheen, and a number of other artists, TTC is an experimental theater company known for creating original performance works that explore charged social, cultural, conceptual, and political realities of today through the combined social-cognitive theory, performance aesthetics, and research methodology known as Transversal Poetics. The products of this praxis (combining theory and practice) or practice research (practice-as-research) approach have been various and far-reaching, including a theory of acting and design aesthetics. TTC has toured productions to festivals and other venues in the United States, Europe, the Middle East, and Asia, such as to the national theaters of Poland and Romania, Armenia's HIGH FEST, Romania's National Theatre Festival, Sibiu International Performing Arts Festival, and Interferences Festival, the Gdansk International Shakespeare Festival. 
TTC's core members and contributing artists have included Robert Cohen, Gary Busby, Lonnie Alcaraz, Niels Horeman, Giovanni Morassutti, David Backovsky, Sky Reynolds, Shira Wolfe, Laila Burane, Christopher Marshall, Saskia Polderman, Luke Cantarella, Alan Terricciano, Christa Mathis, Kayla Emerson, Karyn Lawrence, Amanda McRaven, Michael Hooker, Stan Limburg, Henk Danner, Matthias Quadekker, Babette Holtmann, Mathieu van den Berk, Erik Lint, Alex Hoffman, Sam Kolodezh, Richard Brestoff, Bob Boross, and Oscar Seip.
Transversal Acting.
Transversal acting is a unique acting technique that emerged during the Transversal Theater Company's initial attempts to combine theory and practice, and continues to develop through ongoing Transversal Acting Workshops that have been taught in North America, Europe, the Middle East, and Asia. It takes as its premise that vulnerabilities, surrenders, and slippages can be more productive than control, domination, and regulation. Actors, sets, props, narratives, objects, histories, media, things, ideas, and experiences all form an interrelational dynamism. Instead of privileging experiences, identities, or narratives as the driving forces of performance and interpretation, transversal acting privileges intensity, contact, and creation.