Тело, внимание и общий ритм — там, где текст только мешает.
A physical solo and partnered exercise in which actors explore every possible body configuration that minimises contact with the floor, then do the same in pairs and groups.
A physicality exercise in which players explore high-status movement — smooth, slow, space-claiming — to feel how the body radiates authority and presence.
Two lines face each other; one side copies the other's movements with such precision that an observer cannot tell who is leading.
Partner exercises drawn from contact dance — rolling, weight-sharing, and physical listening — to build physicality and ensemble trust.
A variant of the String Puppet exercise where a rod reverses all movement — when the puppeteer pulls up, the puppet moves down.
A body-awareness exercise in which participants sculpt their own body from memory with eyes closed, using modelling clay — allowing them to revisit and refine already-shaped areas.
Pairs create a frozen image, then alternate stepping out and completing the remaining half-image with their body — a non-verbal dialogue of images.
Performers take turns entering the stage and pantomiming an activity with an imaginary object, collectively building a recognizable location through physical storytelling.
Part of the Mirrors sequence: players release hands and, guided by an imaginary mirror, form collective symmetrical images as a group rather than as individuals.
Participants build a human machine: one actor begins a rhythmic movement and sound, others join one by one until all are synchronized. The Joker then accelerates and decelerates the whole machine.