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Abstract
The following article will trace GAke GAtes' founding and early work briefly and elaborate Counts's gravitational pull toward a more permanent indoor site-specific playing space, specifically 1990s DUMBO, with a honed description of the formerly remote area and the idiosyncrasies of the warehouse theatre itself. The argument will explore the inverse relationship of site-bound performance to its immediate geographic landscape, one in which the immersive experience arguably begins far before the performance itself. Finally, this article details two case studies that include GAle GAtes's later productions, 1839 and So Long Ago I Can't Remember, with a focus on descriptive narrative, dramaturgical construct, and the championing of audience autonomy, leading to the question of site-specific work and sustainability in an ever-increasing, gentrified urban locale.