The first chapter of this dissertation is concerned with the cultural materials of AIDS, as understood through Joseph Cady’s framework of immersive style. This framework was conceived to describe strategies found in the literary output of gay men living with AIDS before the development of effective medical treatment. Immersive style is characterized by a confrontational attitude, shifting time-space, and the centering of People Living With HIV/AIDS. This chapter expands immersive style to include the literary work of other marginalized identities that exist in tension with structures of power, as seen in the writing of Tory Dent and Essex Hemphhill. It can likewise be found in performance, such as the direct actions of the AIDS Coalition To Unleash Power, and music, like Diamanda Galás’ Plague Mass, ultimately laying a foundation that is built upon by the later chapters.The second chapter of this dissertation examines the use of doubling in Reza and Salar Abdoh’s lipsynch theater piece, Quotations from a Ruined City. Dis/re/embodied doubles include the action of lipsynch to text or songs. Twinned doubles deal with the mirroring and diffusion of voice and identity across characters. Singularities resist the double, but in the case of “Mario’s Monolog,” it resurfaces through juxtaposed incongruities and immersive style. The third chapter of this dissertation proposes a framework for excessive form, devised from the combination of camp, immersive style, and late style, and discussed through the work of Abdoh. Excessive form uses a surplus of irreconcilable materials to overwhelm the auditor, rendering the work impenetrable to analysis while subverting the assumed values of genre and form.