Adam J. Thompson is a video designer, director, producer, and the Founding Director of The Deconstructive Theatre Project, a non-profit multimedia creative laboratory.
His work as a director and as a designer has been produced and presented in theatrical and gallery settings including Atlantic Theatre Company, Ars Nova, Theatre for a New Audience, HERE, La Mama, The Public Theater’s Under the Radar Festival, the Theatre at the 14th Street Y, FiveMyles, Gowanus Art & Production, the VIA Festival, the Special Effects Festival, Bard College's Fisher Center, Carnegie Mellon University, the MIT Media Lab's Hacking Arts Festival, and as video documentation at Edge Arts in Lisbon, Portugal. His original devised multimedia work is the recipient of support from 15 funding institutions including the National Endowment for the Arts, the NYC Department of Cultural Affairs, The Jerome Robbins Foundation, and the Robert Rauschenberg Foundation and he is an inaugural member of The Public Theater’s Devised Theater Working Group, a past member of the HERE Artist Residency Program, and a collaborator with the multimedia performance collectives Big Art Group and The Builders Association.
Adam also spent many years as an arts and culture manager, fundraiser, and producer, working with companies that include Working Theater, The Builders Association, HERE, Beth Morrison Projects, and the PROTOTYPE Festival.
He has taught and guest lectured in devised and multimedia performance creation and in video design at The School of Making Thinking, Fairleigh Dickinson University, NYU, the University of North Carolina, and Carnegie Mellon University. He holds a BA in directing and dramaturgy from Emerson College and is currently a third year candidate in the MFA program in Video & Media Design at Carnegie Mellon University.
Adam’s work has been called “a multimedia fantasia” (Time Out New York) and praised for “masterfully…illuminating the utter complexity and subjectivity of our own consciousness” (ArtLab), and for being “so purposeful…unique, [and] innovatively reflective on the future of the performing arts” (Letters from the Mezzanine).