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All the actors participate. The one in the middle comes out, and the rest move in figure eight in opposite directions to each other, facing the viewer only when you walk in a straight line, in other cases people in profile to the middle.
We play the feelings of the narrator, and while we are going in a straight line, the intensity decreases when turning.
In the end, everyone lines up and wins back.
Everyone walks in eights and makes trash like in history, they don’t stop
Usually a circus on a dart
In the end, we stop in the corner from the role of the storyteller.
Inner devils, characters from a dream, characters, and an archetype LEAD TO TRANSFORMATION MC (Main Character)
MC is the first to sit down and react, without a voice, sitting.
Everyone line up behind him in a queue and 1 by 1 influences him, without stepping out, without touching, with different MODALITIES, and tempo they do not build up immediately
Further:
everyone crawls out and influences the first one – Mr. Hero is on a chair, sitting silently. Three people behind him one after another. Everyone plays a given image, and tries to interact with the narrator without touching so that to reflect the interaction that was in the story, you can’t leave your place, you can say phrases, but not conduct a monologue. The hero reacts but does not speak.
“The actors stand in a bunch close to each other. One of them begins the action through movements, sounds, or words. Immediately others take up his action, echoing so that the whole choir together performs one action. Then one of the actors expresses a new idea, which is immediately picked up and reinforced by the rest. The whole bunch can move around the stage like an amoeba. A whole story can be told in such an impressionistic and non-linear way. From time to time, the actors may separate from the group, play their part, and then merge back into the group. Or the “choir” can become an element of the usual “scene”, expressing a special dramatic mood.
A sense of unity, tribal unity. Merging into one single organism. “
Keeping the focus on ourselves and others at the same time (as in the fish exercise)
We try to enter the flow, where one general movement smoothly flows into another, we synchronize with others, and we create a single organism.
See what others are doing (always!), give the initiative, and react quickly when it passes. Control others when you have the initiative. Understand what is happening, and at what stage of history we are. When to complete
You can disintegrate, you can leave the choir, and act as an external circumstance.
A chorus is played when there is a series of transformations from one state to another. And when there is some unresolved issue.
Mise-en-scene. The ninja role is those who lead the story. The main character, his leading role. The roles of everyone else. Final monologue. Play the story of the narrator, or improvise your own, concentrate on a single element, free retelling, or metaphor.
Keep in mind all aspects related to history. First and last sentence.
Concentrate on the narrator, his face, and his emotions at different stages of the story.
Catch when the final monologue began. Do not turn your back on the audience.
Do not pile up the proscenium.
In the mise-en-scene, indicate your role.
Remember about 4 levels, about the heart of the story, about transformation.
A minimum of emotions, with closed eyes, and beautiful hands.
As they grow, 3 circles are played, and on the 4th everyone opens their hands/eyes synchronously.
Slowly open your eyes and hands (fingers folded!)
1- sits on your knees, hands on your knees, when you hear a chair from behind 4th, closes your eyes with your hands, describes as a contemplator the feeling of nature, weather, atmosphere
2.3 – either a hero or someone from society
4 – archetype
1 plays the atmosphere, 2 and 3 – the environment and the narrator himself, 4 – archetypes
Three iterations: what happened before, the key moment, afterword
We all wait and close our eyes together.
We open them one by one.
In the end, they opened everything together.
The archetype does not change.
Everyone is their character.
Only the atmosphere changes.
Open arms up to 120 degrees (in short, not straight).
Do not play with your face, the voice is relatively monotonous.
We play a story that lasts a lifetime.
The hero of the narrator is chosen, he mentally divides the story into 3 stages and expresses them in dance. It is important to remember the key movements of each of the stages.
He came out – danced, froze, mammoths ran to him, he died and a new stage dances, and so after each of the three.
Then he quickly depicts all 3 stages (showing them slowing down or stopping).
In the last 5th stage (to the future) we all move together, repeating the narrator.
Choose a hero.
The hero dances three phases of the story, and at the end of each freezes in a pose (the rest adjust).
After the last, the hero repeats everything quickly with dots, then everyone dances the chorus under the leadership of the hero.
A game about relationships between a couple of people in different stages.
A pair is selected, and the rest are the background throughout these stages.
A couple plays their relationship with the body, and the rest can be like a choir or like corridors, that is, with a body and sound, but not with a word.
Two are chosen to be the heroes of the couple (long-term relationship over a long period) – the characters interact and dance (without words)
The rest stand and create a background (sounds, movements)
The story is a horror story, a fairy tale metaphor for the story.
Everyone reacts when one tells.
The Fifth comes out at the end and makes a Bale.
Usage:
About situations of victory, or finding a way out. Very charged and energetic.
Technique:
Actors in 2 disperse in different directions, as in caps.
1 comes to the middle, listens to the music, and sings the heart of the story in the form of a simple chorus 2-3 times, adding a simple movement. He repeats it all so that the rest will remember and come out with him to sing and dance, disperse it.
They sang 2 times and parted: 1 to the right (character), and 3 to the left (chorus).
The character pushes the monologue, without gestures, and the chorus is synchronized to it.
Then everyone sings the chorus together 2 times, in the mood of the previous monologue.
Again a new character comes out, monologues, and so on until he reaches the narrator.
In monologues, do not forget about the transformation, and the attitude of the character to the conflict.
At the very end, the chorus is sung super energetically, charging each other and into the audience. Ideally, the audience should sing along with you.
The moment the actors enter the soloist at the beginning should be spectacular. Everyone comes out in sync and enters the chorus and into movement filling the space. It should be like a fiery blaze. What is important is the contact of each actor with others (visual, emotional), his full dedication, and involvement in their common dance, chorus.
The chorus can change its mood (and if we risk a few words). Music can also become more minor, sadder, a little slower, or vice versa, have fun, and speed up (but remain in the same sequence). The musician also sings, this is especially important when it is difficult for the actors to get the chorus in rhythm.
In a monologue, transformation and a retrospective are desirable, when the monologue begins with one thought and passes into another.
Usage:
Form for stories of super disagreement, and confrontation, when it is simply impossible to endure. When there is pain, failure, “mourner”.
Technique:
The music starts. One actor comes to the middle of the stage and sits on a chair – this is the soloist. Then the rest go out and sit in the back in a semicircle – this is the choir. The soloist sings the heart of the story two or three times in the form of a simple chorus. Then, the choir picks up the chorus and begins to sing along with the first one, “lighting the fire” and building up energy, 2-3 more times.
The soloist sings the first verse, revealing in it conditionally the first part of the story/setting/what happened “before”. Then, together with the choir, they sing the chorus again. Then comes the second verse, then the chorus again.
After the 3rd chorus, the music stops and the soloist speaks a monologue about the protagonist in this story.
In the end, the final chorus is sung, as energetically as possible with full dedication to the hall.
The moment the actors enter the soloist at the beginning should be spectacular. Everyone comes out in sync and enters the chorus and into movement filling the space. What is important is the contact of each actor with others (visual, emotional), full dedication, and involvement. The chorus can change its mood (and sometimes even a few words). Music can also slightly change your mood. The musician can sing in this form along with the actors.
Notes:
The hero sings/reads a verse. It is possible in this verse to reveal the state before the conflict. Then they all sing the chorus together, and a new verse, and the chorus again. After that, the verse goes into the heat of negative emotions and is interrupted by monologues in complete silence. The hero breaks out of his seat and says everything in simple but harsh language. He returns to his place and, under the chorus, can still throw in, which is not agreed upon.
The choir supports the soloist, picks him up when he runs out on the verse, reaches the notes on the chorus, gives support with his energy, and directs it to the soloist (and does not look at the floor). It sounds spectacular when the soloist gives out a phrase on a strong beat without pulling it into singing, and the choir picks up and sings. You can experiment with vocals – sing, read, speak. At the intro, if you don’t come up with a chorus, you can give out something simple like a howl in your voice.
Usage:
Traumatic stories that involve trauma/abuse/survivors/victims. Stories need to be considered from different angles. Hear all sides of the conflict.
Technique:
Ritual → The actors turn around through the right side and take the chairs (the same way), after which they complete a full turn, then take their place on the stage, forming a mise-en-scène. Chairs are placed at the same time and the actors sit on them at the same time.
After that, one by one, they get up from the chair and say a monologue with movements, going to the center of the stage. When the monologue is over, the actor sits back on the chair and the next actor gets up. Roles can be any and can be repeated. If there is an antagonist, he must be heard.
The narrator’s monologue is required. If the narrator has not appeared before the last, the last actor must take him.
In the end, when everyone has said their monologues, everyone in their roles gathers on a newspaper and plays the final bouquet with their strongest thought.
What actors reflect:
Monologues from different people, their view of events and stories, the ability to see history from all points of the conflict. Reduce trauma. Do not go too far with the antagonist.
Each character has its character and life position. The antagonist is obligatory in front of the narrator, showing that the narrator has coped and that he is stronger. The antagonist is not evil, but a man in his circumstances.
It is necessary to work with an antagonistic role.
Usage:
A story with multiple events without many climaxes. Lots of different events.
Technique:
Trailer.
There are 6 people on stage. 1 comes on stage and makes a clear offer, and the next one quickly joins in, and they play a piece of the story very quickly and run away. Then the next sentence and the next scene. Scenes of 30 seconds. Like a trailer for a TV series. You need to connect quickly and make offers quickly. Connections as in “stories” only “ninja” everything. In the last episode, everyone takes the stage.
What actors reflect:
We play events in any order, not necessarily in chronological order. The focus is on events, not emotions. In the form, you can switch small forms inside. In the last story (episode), the essence should come out and end strongly.
Usage:
Long stories with some kind of meaning (moral).
Stories in which the essence is not immediately clear. Stories that need to be expanded for one reason or another.
Technique:
Ritual → the actors line up the mise-en-scene with a rhombus. And in turn, they read a metaphorical monologue (invent a fairy tale/story) on the topic of history. The one who stands in the “diamond head”, in front, broadcasts and makes large, understandable movements. Those in the back copy the movements and, if necessary, individual keywords.
When the first actor finishes the monologue (not longer than 1 minute), he spins clockwise and the course of the “rhombus” is shifted to the next one. He reads his fairy tale (necessarily from the 3rd person, so as not from the narrator’s point of view). Everyone repeats and so on until everyone is scrolled. The form ends when the first actor returns to his seat. In rare cases, a go-around.
Turns are carried out through the right-right-left-right shoulder. You need to turn synchronously and equally.
Metaphors can be both about the whole story, and about its separate part.
What actors reflect:
Metaphorical, sensual, and event series of the story. From the narrator’s point of view.
Notes:
You can play a fragment of the story.
Third-person story. In the form of a fairy tale.
Come up with the first and last sentences for ease of narration.
A general thesis is a concept that you can come up with.
The original metaphorical image can be archetypal: the holy grail, an apple is a forbidden fruit, or it can be unique and even strange, but symbolic – a transparent thread, a forgotten hat.
The rules are the same as in the story – if possible – give the setting and atmosphere, then development, transformation, and apogee.
Usage:
Traumatic stories with strong inner experience. Either an old injury, or a new one, but very strong and directed inward.
Technique:
Ritual → The last actor goes backstage (in the light version, the one who got blown up).
The first actor takes two steps forward and bodily lives the story of the narrator, some part of it. He does not play, he lives his bodily response. When he has lived, he freezes, and the second actor approaches him and copies the pose in which the first one froze, and bodily lives his response → freezes. The third copies and lives his review. After the actor has copied the pose of the previous one, the previous one dies and moves back to zero, and exhales, giving space and amplitude to the soloist. When the third has finished living and froze, the other two take two steps forward and freeze in their poses.
After that, the fourth comes out from behind the scenes. He has three points approached → stood → looked. He lines up with the actors in one line. This is an outwardly calm manifestation, and the other three are the inner features of the narrator.
The form is very physical. The body needs to be prepared. The actors who have acted and are standing behind stand exactly in neutral poses near the chairs.
What actors reflect:
Our bodily response to the storyteller’s story. It can be a response to any part of the story and any role. The main thing is not to start playing, but to let the emotions live through the body.
Usage:
Stories about internal dialogue, doubts, misunderstanding, and mess in the head. When there are many inputs from outside and inside, noise, chaos, etc.
Technique:
The narrator’s hero is chosen. Then the narrator moves to one side of the stage, and the other three stand in a diagonal line on the other side.
The hero plays only with his body, and those who are in the line, only with his voice (it is important not to gesticulate, try to remove facial expressions (talking heads)). Heads say phrases – both those that the narrator has in his head and from the outside, they have chaos, they are thoughts, and feelings, all together.
What actors reflect:
We voice the thoughts and feelings of the narrator, it is important to create confusion and show the mess in the head. As a storyteller, sometimes it is difficult with yourself and external factors.
Usage:
The relationship of two objects (I am a mother, I am a cat, I am a boss, I am a job, I am a god, I am …).
Relationships can be stretched out in time or go through some kind of transformation, or they just can be.
Technique:
Ritual → A narrator and a couple are selected, from the rest, a narrator and a couple are selected again. Pairs interact in the order in which they were chosen. Pairs disperse behind the scenes on different sides (2 pairs on one side, 2 pairs on the other) (in Shirley’s technique, the 1st pair does not diverge, but remains on stage and starts playing without exit).
The couple begins to interact and plays either a relationship before the transformation or just a relationship. When everything is played or the part is over the couple freezes. When the couple froze, the 2nd couple enters the stage, and the first one dies off and diverges in different directions backstage.
The second pair continues the interaction and plays either the part after the transformation, or a different time (now), or the same story, but from a different angle – if the first one was bodily, this one will be verbal, if the first one was fast, this one will be slow, funny-sad…
When the interaction ends, the couple freezes → the first couple comes out and freezes in their position (in Igor’s technique, the first couple does not leave the stage, but goes back and stays there all the time).
What actors reflect:
Relationship. More emotional than situational, you can connect metaphors, and you can use pairs of circles (semi-monologues). The main thing is to express the relationship. It can be a plot or emotions. Anything in any format.
Usage:
Dynamic stories with many characters and events, emotionally/scenically filled. Traumatic stories can be used to dispel trauma. Take out the characters (house, dead relatives, war), but very pointwise, without injuring.
Technique:
Ritual → All actors simultaneously step forward from one foot. Then one by one they take 1-1.5 steps forward and make an offer (bodily, verbal, song …). This is a quick suggestion of 3-5 seconds. And back in line. And like an equalizer, one by one back and forth, but not at the same time. When the story ends, there is no step back, everyone lines up on the front stage. And freeze in the final strong poses.
What actors reflect:
Characters, events, and emotions at different points in history. We can bring in archetypes or meanings without interpreting, but connecting with the storyteller’s experience. Fast change of events. Looking for roles, like in a monologue, but most of all the narrator.
Notes:
Different modalities, from different roles, in turn, if 2 came out, then 2 went in At the end – you stay on the row The last one – on behalf of the narrator + – in chronology
Keep the dynamics, hear the rhythm
If you went out together – you can interact
Not only phrases but living in the body, emotions
Usage:
Creepy stories that were heavily pumped. A form with a solid emotional inclusion. The plot may not be clear.
Technique:
Ritual → Actors together take two steps forward and turn over their right shoulder with their backs to the audience, after which they begin to rotate around their axis. You can spin in any direction and at any speed. It’s better if everyone spins at different speeds. Once it starts spinning, you can’t stop. You can change the pace, but do not stop. Each time an actor turns to face the audience, he makes a suggestion (it can be a movement/phrase/sound/…) and spins on. When turned away from the hall, this is the moment of zeroing. You can speak from any moment in history, you can not follow the chronology, of any character.
When someone realizes that the story is ending, he turns his face to the audience and makes the last offer. He does it until the last one turns. If one of the actors decided that the end, it does not mean that the form is over. Other actors can still play out.
In the end, when everyone is spinning, they freeze in the final poses → Ring
After all the interactions are exhausted, the main character plays the final monologue.
What actors reflect:
We focus on the emotions of the narrator and external characters. You can play feelings, as in sculptures, from different points in history. The event series may be tracked, but not required.
Usage:
Long plot stories with +- 4 characters. There may or may not be a transformation in history. Be sure to follow the “heart” of history.
Technique:
Ritual. The narrator chooses characters to play the roles of characters in the story, giving them a brief description and giving a word that characterizes the character in this story. After the actors have listened to the characteristics and images, they go backstage. Music begins to play, and they build a mise-en-scene, taking understandable large poses. When everyone is lined up, the music changes. It is not the main character that starts to interact and “turns on” someone else. The interaction takes place in pairs, only together, the rest are in the “frieze”. When the interaction is over, one of the pairs leaves, and the second freezes. The one who left, “turns on” the next one, and so on as a chain reaction. Interaction only in pairs. When there is an interaction, the phrase that was set when assigning the role must be heard. In the end – the narrator’s monologue.
! “Rigid tableron” involves the use of only a given phrase and no other words.
After all interactions are exhausted, the protagonist plays the final monologue.
What actors reflect:
We play interactions between characters, both in an emotional and situational sense. Both meetings that took place and meetings that did not take place can be recouped. Expanding and increasing meanings. Expansion of history to archetypal images. Sub-meanings.
Usage:
Stories about internal conflict. When a person has 2 opposite feelings at the same time (I love / hate, I want / I’m afraid …). Relationships are only about emotions, no plot, only emotions.
Technique:
Ritual – couples are built first at the same time, the 1st and 3rd come out to the middle of the stage, and the 2nd and 4th are adjusted to them from behind. Thus forming 2 pairs. There are two types of adjustment: back to back or one after the other. When the 2nd has adjusted, he either leans on his back or puts his hand behind his back.
After the 1st couple begins interaction for 3 counts (3 seconds), the first one plays its valency with the body (sound) as you like, clearly making its message clear. Then the 2nd one enters, either scrolls or somehow climbs out, and says the opposite side (if the first one loves, the 2nd one hates). shifts: 3-3, 2-2, 1-1. After the first pair has done 1-1 together, it freezes in the last final pose and the 2nd pair begins the interaction. The first has the same emotion that the second had. Interactions 3-3, 2-2, 1-1. Then they froze.
What actors reflect:
We play only feelings and only the narrator. This is an internal conflict specifically of the narrator, the eventfulness and other characters are not important here. The internal struggle of feelings. Strong feelings.
Notes:
There is a certain duality in many stories. I want freedom, but I’m afraid of responsibility. I want some care, but I want to be strong. I want to enjoy life, but I take on an unbearable burden.
Show this struggle of two opposites in improvisation
Actors intertwine and fight with each other, the words and sounds they make contradict and overlap each other. Their closeness creates the feeling that they are not two actors, but one person with different parts of personalities. 3 pairs of statements / bodily experiences. The first is 10 seconds, the second is 5, and the third is 2. The interaction can be anything.
The order of the pairs is important.
Only from the point of view of the narrator.
When I stand facing my back, I don’t move my feet, but I go forward with my upper body.
Usage:
Stories about something obsessive, stories in which something has burned out. Obsessive fears are pathological reactions that a person who understands that this should not be so, that this is nonsense, but it happens.
Technique:
Become the letter T.
The first person to come out is the one who most clearly understood the message. “ECHO” is “1”, “2”, and “3” multiple. The conductor states what he means by multiplicities. Let’s say – got scared, won, and collected trophies.
1st says the main message. Briefly with the 1st phrase. If we divide by intervals 1-10, then the first one is 1-3.
2nd intensity 4-6. It develops and connects emotions and movements.
3rd – there are two of them, they act at the level of 7-10, bringing the situation to a climax, connecting all levels, fairy tales, and other “nonsense”, actively moving around the stage.
First, the actors stand ⟶ 1st said and sat down, 2nd did something – sat down, 3rd – did something and sat down. “ECHO” single, then froze. if the multiplicity is greater, then they also sit down on the next multiplicity, everyone gets up again, and the wave begins anew. And so on until it’s finished.
*Full ECHO – this is when the 3rd one starts to interact and after a while, it captures the front ones and the 1st and 2nd ones are connected. Creating complete trash on the stage, everyone moves and interacts, running around the entire stage. Until one froze and all the others freeze behind him.
What actors reflect:
The feelings and exaggerated feelings of the narrator. Situations are omitted, the main thing is to highlight the essence and bring it to the apogee.
The rules are the same as in sculpture, but you can play not only the narrator or characters but everything, everything, everything. You can collect the state of the hall or play the scoreboard in this form.
One sentence, one story. You can collect a variety of combinations.
Usage:
Children’s stories, looping state, very mechanical state. For an audience that finds it difficult to understand complex matters.
Technique:
The actors take turns going to the “newspaper”. Looped mechanical repetitive movement does not change. Rules as in other sculptures 5+5+5+5+5sec. 1st 5sec, 2nd (1st quiet down), 3rd (1st and 2nd quiet down) + 4th (1st, 2nd, 3rd quiet down) then everyone repeats action for 5sec and freezes in enlarged poses.
What actors reflect:
we play only the feelings of the narrator, only 1 person. There may be different emotions, but only one person.
Transformation, but the actors die not on the same newspaper, but moving to another sculpture in another place.
At first, we begin to play not at the very front edge of the stage, but somewhere in the middle of its depth, and closer to the narrator. The first sculpture is played. Then everyone freezes. The first one who came out dies. moves along the parallel edge of the stage line, closer to the musician (as if it just shifts to the right, further about the narrator), moves to neutral and already in second place plays the second state of the narrator, then in turn each of the sculptures in the same order as they came out at first, dies, is attached to the second place, to the second sculpture and plays back)
Usage:
The state which is changing throughout the story. There was one state, and then it changed and became another. But without events and without a special story, when the transformation is not a climax, but just a small step.
Technique:
The actors take turns 5 seconds, going to the “newspaper”. 1st 5sec + 2nd 5sec (1st fade) + 3rd 5sec (1st, 2nd fade) + 4th 5sec (1st, 2nd, 3rd fade) then all together come alive and freeze. The music pauses and the actors later, at this point, the transformation takes place and new music begins corresponding to the state after the transformation. The actors come to life and play the 2nd part of the story, all together for 10-15 seconds at the maximum, but each with his part of the emotion on his part. Freeze in enlarged poses.
What actors reflect:
One narrator’s feelings before the transformation. You can have different feelings from different sides, a pause, the feelings of the narrator after the transformation, you can also from different sides.
Usage:
Stories about 2 and more people in which there is no plot, but only a short emotional relationship in one moment, without a long development.
Technique:
The actors, one by one, with an interval of 5 seconds, go to the “newspaper” building together a common sculpture. When the 2nd comes out, the 1st calms down a bit. When the 3rd comes out – the 2nd calms down a bit, when the 4th comes out – the 3rd calms down for 5 seconds and everyone “comes to life” at full power for 5 seconds together at full power and freezes – Ritual.
What actors reflect:
The emotions of the characters, different emotions, and different people, the emotion does not change, but only one develops.
Usage:
Stories without events, short emotional states without much depth. There may be several emotions.
Technique:
Ritual – one who has a formulated request goes to the “newspaper” and moves (gesture, sound.) and repeats several times (5 seconds) the second one adjusts to the sculpture on the newspaper closely, but without restricting movement, violating freedoms, and can’t hold hands… The first at this time reduces the amplitude (volume), the second (5 seconds) declares its message, then the 3rd joins. The 1st and 2nd subside, allowing the 3rd to appear and make his offer (5 seconds), and the 4th comes out and adjusts. It turns out to be a complete sculpture “on a newspaper”. Then everyone “comes to life” and each performs a joint action at full strength (5 sec) – freeze – Ritual
What actors reflect:
The feelings of the narrator, the whole range of feelings, there can only be emotions and only the narrator, although emotions can be different.
Notes:
Give time to a person, stand tighter, on the spread of a newspaper
Play only the main character
Enter the sculpture neutrally, fill all levels, and try to be a harmonious integral sculpture Place on the sides Interact, but do not interrupt or interfere with the action of another. To some extent adapt to what is already there in sculpture, partly – to bring your own.
Usage:
Stories in which there are a lot of stupid events (left-walked-driving-arrived-well done …) When there is no point, but there is only a set of events.
Technique:
Actors take 1-2 steps together. The conductor in his head divides the story into parts (pieces/episodes) and says: “I’m going.” The musician makes a clear rhythm of 1-2-3-4-5 for 5 seconds, and the actors freeze in the pose. The conductor says the next frame is 1-2-3-4-5 – the actors freeze in the next pose. The next frame is 1-2-3-4-5… And so on until the conductor runs out of frames. The last frame is the most meaningful.
What actors reflect:
The state of the narrator and/or other characters at a particular point in time. You can play any character according to their reaction and state at a particular point.
Usage:
Stories without events, short emotional states without much depth. There may be several emotions.
Technique:
Ritual – one who has a formulated request goes to the “newspaper” and moves (gesture, sound.) repeats several times (5 seconds) the second one adjusts to the sculpture on the newspaper closely, but without restricting movement, without violating freedoms, and can’t hold hands… The first at this time reduces the amplitude (volume), the second (5 seconds) declares its message, then the 3rd joins. The 1st and 2nd subside, allowing the 3rd to appear and make his offer (5 seconds), and the 4th comes out and adjusts. It turns out to be a complete sculpture “on a newspaper”. Then everyone “comes to life” and each performs a joint action at full strength (5 sec) – freeze – Ritual
What actors reflect:
The feelings of the narrator, the whole range of feelings, there can only be emotions and only the narrator, although emotions can be different.
