The themes addressed by LTC are sourced from the dynamics occurring in contemporary society, much like the issues faced by urban communities. This tendency is evident in the performance  Kubangan (2007). This first work required a lengthy creation process. The performance was staged on a 16-meter-long catwalk that split the room, with the audience seated on either side of the stage.

The performance Kubangan reveals the condition of urban humans experiencing chaos and trauma, leading them to lose their natural elements. This show serves as a critique of the globalization era, which ambitiously seeks to homogenize human tastes worldwide through its created networks, amidst a society still grappling with technology and traumatized by Indonesia's political conditions before '98. The performance was staged in several cities in Indonesia from 2007 to 2009, including Bentara Budaya Jakarta; LIP Bandung; FSS Surabaya; ISI Padang Panjang; Taman Budaya Pekanbaru, and Aula STAIN Metro Lampung.

The artistic experience received affirmation through LTC's involvement in mentoring mothers who were victims of the '98 violence. Using theater as a medium for trauma healing, LTC employed joyful theater training methods over a nearly 8-month process. In this context, theater was used as a conditioning space to strengthen their spirits and help them face a better future.

In an intensive meeting facilitated by KONTRAS, participants showed enthusiasm during the training process. This led to the creation of a work titled Terjepit which drew from their bitter experiences during the riots of the Reformasi 1998 period, the socio-economic conditions at that time, and the glimmer of hope they still held onto. The work was performed in several villages in Jakarta, leaving a profound impression on their existence as victims of state violence.

Next, LTC conducted a small research project in the Baduy tribe as a way to create distance between the creative struggle in the metropolitan city and the inner vision of rural communities. From this, the idea for a performance was born that explores human silence. The actors delved into these keywords through various methods, including silent workshops and developing characters through their chosen fictional works.

In the course of its development, a work was conceived initially titled Muara, Ruang Antara, which was later renamed Cermin BercerminLTC's theme is based on the belief that humans are mirrors of each other. A mirror reflects the true condition of its object. If the mirror is cloudy or cracked, then so too will be its reflection. As the title suggests, the semi-arena stage was filled with cracked and intact mirrors of various sizes, from the entrance of the building to the back of the stage.

Perjalanan LTC selanjutnya yaitu melakukan proses intermediasi kultural di Pulau Panggang-Pramuka di Kepulauan Seribu tahun 2010-2013. LTC bekerja sama dengan semua lapisan warga mulai dari kaum ibu, pemuda, nelayan, guru, agamawan, pengusaha kapal wisata, dan pemerintahan setempat. Melalui Sistem Pendukung Keputusan (SPK) Samo-Samo dan Sanggar Apung, LTC mengawali kerja kulturalnya dengan membuat riset budaya Pulau Panggang -merupakan pulau tertua dan terpadat di Kepulauan Seribu-, yang kemudian hasil riset tersebut diterbitkan oleh Penerbit LTC dalam sebuah buku berjudul Orang Pulo di Pulo Karang, which is accessible to the public.

From the research findings, LTC proceeded with fieldwork in the form of art training, collaborative performances, and training in local food packaging, and culminated in organizing the cultural festival Hajatan Pulang Babang with the local community. This event stemmed from the almost extinct artistic and cultural potential of Panggang Island — the oldest and most densely populated island in the Thousand Islands. The festival included several programs, one of which was a community theater performance based on the legends of Panggang Island, aligning with the title of the research book that initiated this lengthy project. This cultural approach began with theater training and building good relationships with the youth of Panggang Island in 2002.

In 2013, we engaged in several experimental creation processes. The performance work that year was based on the novel Mada written by Abdullah Wong. We explored a variety of themes in the performance, ranging from human existence and spiritual anxiety to the conditions of urban space and environment, which are sources of urban behavior. During discussions held throughout the rehearsal process, we discussed various terms such as urban community, political reality, global market, idols, fans, the melancholic generation, national character, and self-identity.

These terms essentially reside in the consciousness of young people filled with trending social media topics. The process of reading the work took place simultaneously with the training process, with the strategy being to direct the director and players to take positions on the novel Mada which served as the source of ideas that ultimately materialized into an artistic concept in the form of dozens of 40cm x 40cm boxes as the basic language/symbol of the performance. From these objects, a series of scenes resulting from exploration were created by 20 novice actors. Dozens of boxes depict images of space and place, such as support pillars, catwalks, homes, game corner areas, hills, barracks, and even pyramids. All of these results stem from a participatory approach in the experimental spirit carried out by the entire team involved.

In late 2014, LTC decided to engage in a creative process with the Sangga Buana Forest area at Kali Pesanggrahan, Lebak Bulus. Their involvement began with initial research on Kali Pesanggrahan, which became the focus of LTC's work under the "Kota Tenggelam" program initiated by the Jakarta Arts Council (DKJ). This program marked LTC's intensive introduction to H. Chaeruddin (Babeh Idin), recipient of the 2013 Kalpataru Award. He is an inspirational figure in environmental conservation, steadfast in his beliefs and respect for nature, and a selfless worker who has been striving to restore the ecosystem of the Pesanggrahan riverbank naturally for over 30 years. This introduction led to LTC's commitment to learning new things by collaborating with the Sangga Buana Environmental Farmers Group (Kelompok Tani Lingkungan Hidup or KTLH Sangga Buana), through a live inapproach, both individually and organizationally. Located on the edge of the Pesanggrahan River in the Sangga Buana City Forest, LTC stayed in stilt houses next to springs that are hundreds of years old.

LTC responded to the longstanding tradition in the city forest area by cleaning, preserving, utilizing, maintaining, organizing, and managing the urban forest, while also learning about the local wisdom and cultural values of the local community. Over 3 years, LTC produced cultural works aimed at strengthening the dissemination of works and the values of struggle carried out by KTLH Sangga Buana to the wider public. During their residence, LTC organized a series of programs, including bird release rituals, tree planting and fish distribution events, Earth Day, Water Day, River Almsgiving I and II, and Together with the City Forest. They also created experimental theater works based on local stories and characters, titled "Mata Air Mata," "Suluk Sungai," and "Penjara Hujan," addressing themes of the spiritual world of urban society, global capitalism, and environmental and natural crises.

At the end of 2017, LTC organized an event called KALIKALIKU at Kandank Jurank Doank after completing their live-in period at Hutan Sangga Buana. This event served as a reflection on LTC's 12-year journey in theater, supported by the Arts Activity Facility (FKK) program from the Ministry of Education and Culture. The two-day program was designed to strengthen artistic networks with various parties in the South Tangerang area, which serves as LTC's social and cultural base. LTC recognized the need to strengthen its social and community base in its immediate environment. They aimed to collaborate in creating works with multidisciplinary artists and engage in socio-cultural mentoring programs with the local community. The activities were packaged in the form of an archive exhibition curated by Sartika Dian and Hilmi Fabeta, Art and Human Rights discussions, music performances, LTC's Creation Method Workshop, and presentations of their latest works.

From 2018 to 2019, LTC sequentially produced several performance works and activities. One of these was XQM4Z yang merupakan hasil diskusi panjang soal dunia net yang menenggelamkan masa depan generasi milenial, sebagaimana pandangan dalam sebuah esai yang ditulis Radhar Panca Dahana. Karya ini diundang dalam Forum Teater Sumatera di Pekanbaru, Riau. Karya berikutnya berjudul Sinopsis TIM 2019+ which emerged from lengthy discussions about the online world submerging the future of the millennial generation, as articulated in an essay by Radhar Panca Dahana. This work was presented at the Sumatra Theater Forum in Pekanbaru, Riau. Another work titled "Sinopsis TIM 2019+" involved 70 young people, exploring the theme of the disconnection between the past and the present. The performance integrated the audience as subjects of the show, blending with actors and events. It was staged at Graha Bhakti Budaya upon invitation from the Jakarta Arts Council (DKJ) for the Djakarta Theatre Platform Forum.

Between these two works, LTC also participated in the "Seni dan Kota" project, mediating the Pondok Jaya community in Bintaro. LTC facilitated dialogue and expressions from local residents about their village memories, packaged in an art performance and an exhibition of old photos. Local youth worked together shoulder-to-shoulder, starting with interviews with village elders, collecting old photos, writing local stories, and preparing various activities. All of this gave significant meaning to their togetherness, brotherhood, and the meaning of the past for their lives today. Additionally, a cultural intermediation process was also conducted at the end of 2019 with the youth of Untung Jawa Island. Here, LTC advocated for local cultural arts through the spirit of theater by gathering local island stories, discussing, and rearranging them as needed. This performance was titled "Jaring Sampan" (The Net of Canoes), staged at Taman Arsya, the pier of Untung Jawa Island. The performance was attended by hundreds of tourists and all local residents.

Reflection on various cultural activities and creation approaches as summarized above has made LTC increasingly aware of its position as a theater group operating and creating amidst the exclusivity of works and inclusive creation processes. This position has driven LTC to formulate the concept and method of "participatory theater," based on dramaturgical experiences and a re-examination of the stylistic tendencies and approaches LTC has used thus far. This concept aims to optimize the spirit of experimental work within the acting laboratory, directing, managing ideas, and cultural intermediation processes related to urban community issues.