To be read alongside Arseli Dokumaci’s contribution to this issue, Katherine Zien’s article treats questions of ethics, affect, labor, and autonomy in Disabled Theater (DT), a performance created by Swiss performing company Theatre HORA and French choreographer Jérôme Bel. DT evinces traits of the artistic production of both contributors, yet HORA has made the piece its own by touring it around the world, for over 100 performances since its premiere in 2012. For better or worse, DT has become a signature piece for HORA and, in Zien’s terms, a “mobile social realm” offering a space where members of HORA can experiment with new ways of living and working together. The ethical and social dimensions of DT – and company members’ responses to them – have conditioned HORA’s expanded investigation of aesthetic and political control and collaboration that performance scholar Yvonne Schmidt examines in later productions. In addition to providing room for political and aesthetic exploration, DT’s mobile social realm can impact the communities in which it is performed. While this effect may not always be feasible in a festival setting, conditions at Concordia University in Montreal, Quebec, Canada were such that when HORA performed there on March 30-31, 2015, questions of disability, autonomy, and access to the city rose forcefully to the fore. Reflecting on her feelings of productive discomfort around the 2015 performance, Zien seeks a response to DT’s fractured reception in a melange of concrete poetry and prose.