From Tradition to Experimentation: What Is Wordless Theatre?

At the heart of wordless theatre lies the idea of the body as the primary tool for expression. This approach encompasses a range of styles—from classical mime, where each gesture and facial expression carries clear meaning, to contemporary physical theatre, where the body becomes a field of experimentation, expressing inner states, time structures, psychological and social conflicts.

Physical theatre defies simple definitions. It can be vivid and dynamic, meditative and abstract, and may include elements of acrobatics, dance, vocal work, or sound performance. What unites these forms is the rejection of linear verbal storytelling in favor of a more associative, bodily language.

Hungarian theatre companies, especially independent ones, increasingly embrace these forms. In Budapest and other cultural hubs across the country, festivals spotlight performances centered on mime and movement. This is not merely a stylistic preference—it’s a desire to rethink the essence of theatre as a living, unformalized art.

Mime: The Art of Expression Without Sound

Classical mime is a discipline with deep European roots, from the Italian commedia dell’arte to French mime traditions. In the 20th century, this art form experienced a revival thanks to masters like Marcel Marceau and Étienne Decroux. Today’s performers continue their legacy, developing mime as a refined and precise way of telling stories about the human soul.
In the Hungarian context, mime resonates because of its universality. Not a single word is spoken on stage, yet the audience instantly understands the emotions, recognizes itself, and lives through others’ experiences. This is theatre where the audience becomes part of the dramaturgy—each viewer interpreting what they see in their own way.

Mime in Hungary remains faithful to tradition but is unafraid to incorporate modern elements: video projections, electronic music, and multimedia. As a result, it remains relevant and compelling to new generations.

Physical Theatre: The Boundaries of Body and Mind

If mime is about precision, physical theatre is about freedom. It explores the body as text, as a space for interpretation. Here, the aim isn’t always to understand “what’s happening,” but to feel that something important is taking place. It might be a struggle, a ritual, a metaphor, or a catharsis—the key is that the body speaks truthfully.

In Budapest, particularly among young theatre groups, physical theatre is used to address complex or taboo topics that words can’t fully convey: trauma, isolation, sexuality, memory. The theatre of physicality doesn’t shy away from expression—on the contrary, it thrives on it. Audiences tired of theatrical clichés increasingly seek this kind of honest connection.

At the intersection of physical theatre and dance, unique forms are emerging—from postmodern movement compositions to performative installations in which the body is just one of many elements, but the most vivid and convincing one.

Hungary and the Movement Beyond Words

The success of wordless theatre in Hungary is no coincidence. This is a country with a rich theatrical tradition and high levels of acting mastery. Hungarian performers have a strong command of movement, physicality, and rhythm. Local theatre schools, including the University of Theatre and Film Arts in Budapest, train actors to use physical expression not as a side skill, but as a core part of their craft.

There’s also a growing demand for wordless theatre among audiences. In an age of information overload, people seek silence—not as passivity, but as presence, empathy, and internal dialogue. Mime and physical theatre provide that experience of being truly present, where every movement carries weight and meaning.

Many Hungarian companies include international tours in their schedules, performing across neighboring countries and in Western Europe. The universal language of the body transcends linguistic barriers with ease. It works equally well in intimate provincial venues and on international festival stages.

Theatre of the Future: Silence as a Form of Freedom

Today, physical theatre and mime are more than genres—they are a way of thinking. They challenge traditional theatre, where the spoken word dominates. They return to the origins of theatre as ritual, as lived experience in the “here and now.”
Silence in theatre is not emptiness. It’s a space for the audience, for imagination, for personal experience. Mime and physical theatre don’t impose meaning—they open a space for wordless dialogue.

Hungary, as a cultural crossroads of Europe, is increasingly immersed in this process. Wordless theatre is becoming the language of a generation tired of excessive information, but still eager to feel.

Conclusion

When words fall away, the essential remains—movement, gaze, breath. Theatre without words is not just an aesthetic choice, but a philosophy. It reminds us that the body knows more than we often admit. And in this honesty, in this silent language, lies the true power of art.

Hungarian audiences are increasingly seeking not noisy spectacle but authentic experience. And on that path, movement and mime are no longer alternatives—they are a necessity.

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Adaptability and Flexibility: Skills for Successful Work

In the modern business world, the most crucial skill is the ability to adapt to rapidly changing conditions. Uncertainty, changes in the company’s strategy, new client demands—all of this requires employees to be flexible and capable of quickly responding to new circumstances. These are precisely the skills that theatrical improvisation helps develop.

When actors face unexpected situations on stage, they train themselves to act quickly, remain confident, and find solutions in various scenarios. The same happens in business: employees who undergo improvisation training become more confident in themselves and are capable of making decisions quickly, regardless of how unexpected or complex the situation may be. This is especially important in conditions of intense competition, where every moment could play a key role.

Teamwork and Interaction: How Improvisation Helps in a Team

One of the most important aspects of successful work in business is the ability to work as a team. Employees must be able not only to predict what is expected of them but also to react correctly to their colleagues’ actions and adjust their own actions depending on the situation. Theatrical improvisation develops these skills excellently.

Each exercise aimed at developing improvisation skills requires participants to pay constant attention to their partners, to listen and understand them, as well as to be ready to change their reactions depending on the situation. This is a crucial aspect of teamwork: the better employees can work together, the more efficiently they can solve tasks. Corporate training with elements of theatrical improvisation helps create an atmosphere of trust and collaboration, which in turn boosts productivity.

Creativity and Innovation: How Learning Improvisation Promotes Unconventional Thinking

For successful business management, it is critically important to develop creativity and unconventional thinking. This is especially vital when companies face the need to find new solutions and implement innovative approaches. Improvisation, being an inherently creative art, contributes to the development of these skills.

When an employee participates in an improvisation training, they learn to think outside the box and seek unconventional solutions. This becomes particularly useful when the company encounters problems that require a fresh perspective or approach. In such situations, employees who have undergone training can propose innovative solutions without being limited to conventional methods.

Moreover, theatrical improvisation helps develop self-confidence, which allows employees to freely express ideas without the fear of making mistakes or being ridiculed. Ultimately, this fosters an innovative spirit within the team and helps the company keep up with the times.

Theatrical Improvisation and Online Entertainment: How Show Business Principles Can Be Useful in Business

It is no coincidence that elements of theatrical improvisation are often used in areas such as online entertainment and gambling, such as in online casinos. After all, just like in business, the ability to adapt to rapidly changing conditions is important. Users, playing igazi pénzes játékok, frequently face new circumstances and unexpected twists of events, and the ability to respond to them quickly becomes an essential part of successful gameplay.

For instance, in online casinos, players often encounter various gaming situations where it’s important to remain calm and not give in to emotions, just like in business. Actors on stage, responding to improvised situations, demonstrate how important it is to be flexible and find solutions in challenging situations—and these principles can be beneficial for employees who are learning improvisation in corporate training. Just like in gaming, in business, it’s important not to fear unexpected changes but to embrace them as an opportunity for growth and development.

Conclusion

Theatrical improvisation in business is not just a passing trend but a real necessity. It develops flexibility, creativity, and teamwork, allowing companies to succeed in a changing market environment. By incorporating improvisation elements into corporate training, companies can significantly increase employee effectiveness and improve the overall atmosphere in the team. And even in areas such as online entertainment or online casinos, the principles of improvisation remain relevant and useful for achieving success.

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Risk-Taking as a Core Element of Performance

Risk is a key element in both gambling and theater. Actors take the risk of how their acting will be accepted, just as gamblers place bets in sportsbooks on results based on assessed risks. In the field of theater, embarking upon artistic risks—such as presenting a role differently—can either improve or obstruct viewers’ acceptance. An important lesson is learning to analyze and reduce dangers, similar to how players estimate their probabilities prior to placing bets.

Performers can accept danger by making strong decisions in depiction or arrangement, but the prize is given when they comprehend there’s a chance for failure. It’s similar to gambling—it concerns finding a balance between risk and aimed reward, be that audience appreciation or creative evolution.

Improvisation: Thriving in Uncertainty

Theater performers and gamblers need to be flexible and always prepared to adjust their strategies when situations shift. Live shows are unpredictable: performers might forget cues or lines, or there can be unexpected technical problems. In these scenarios, an actor’s ability to think on their feet becomes crucial for keeping the performance running smoothly. Similarly, gamblers often adjust their strategies based on real-time developments in a game.

This adaptability is an important ability in both areas. Professionals of theatre who are experts at improvisation can keep the audience interested and handle the unpredictable nature of live performances better. Thinking fast in a situation is a necessary lesson from the world of casino gambling.

Predicting Audience Reactions

In the gambling world, comprehension of probability is essential for victory. Although actors do not determine chances similarly, they are required to predict different potential reactions from the audience. Every act introduces new elements, such as crowd energy or the mood swings of other performers. By understanding these aspects, an actor can modify their presentation just like gamblers adjust their tactics according to changing circumstances.

An actor could portray the same character in diverse ways depending on the type of audience—quiet or enthusiastic. This instinctive understanding of chances, comparable to a gambler evaluating their odds, assists performers in adjusting their acts for the greatest effect.

Mastering Timing in Performance

Time management is important in both gambling and theater. For players, knowing when to set a bet or withdraw can greatly influence their game’s outcome. In theater, timing impacts how lines are delivered, the flow of humor, or even escalating dramatic suspense. Misjudging timing in a performance can lead to missed emotional beats or awkward transitions.

Actors need to improve their sense of timing. They should know when they have to stop for a bit so that the scene becomes more dramatic or speeds up things in a scene. Just like gamblers who wait for an ideal time before taking any action, theater professionals also must adjust their timing well if they want to give exciting performances.

Composure Under Pressure

Professional gamblers are known for their ability to stay calm under pressure and stay focused even when there’s a lot at risk. Artists in the theater also experience similar pressures, especially during live performances. From first-night nervousness to unexpected issues on stage, they must stay cool-headed.

Theatre performers can acquire knowledge from gamblers about handling feelings. Methods such as breathing deeply or awareness, which gamblers use to stay calm, could assist the actors in keeping concentration, adjusting to difficulties and preventing nervousness from affecting their show.

Strategic Preparation: The Key to Success

Every skilled player usually has a well-planned tactic. This readiness reflects the detailed practice and arrangement process in the theater world. Performers, directors, and creators should prepare extensively, but they also need to be adaptable enough to modify plans if necessary. Though practice lays the groundwork for the presentation, unexpected incidents during a live event may necessitate immediate modifications.

Like gamblers who plan for different results but can still modify their strategy according to the game’s progression, theater actors should also have a performance strategy that they can change as required. The blend of good preparation and flexibility assures steady victory.

Afterthoughts

Gambling and theater may look like two different worlds, but they have crucial parts in common: risk, probability, timing, and composure. Theater professionals could improve their skills by accepting these shared aspects. Lessons from gamblers about taking risks, mastering timing, and remaining calm during stressful times can be useful for artists who want to be the best on stage. For theatre artists, whether they are creating a high-pressure scene or managing the unpredictable responses of a live audience, it can be helpful to understand the tactical thinking that gamblers use.

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Understanding Acting

Acting, at its essence, is the performance of a role in a drama production. It involves interpreting and presenting the character’s emotions, thoughts and motivations convincingly. Acting is important because it can arouse feelings and stimulate thinking in viewers, hence becoming an essential element of theatre and performing arts. Familiarizing with diverse acting methods assists actors in intensifying their characters’ development as well as brobroadeningeir emotional depth.

The Importance of Techniques

Individuals need to learn different methods of acting. These techniques offer actors tools for creating real characters and managing the intricacies of a performance. A study showed that more than 70% of global acting schools include elements from different performing arts methodologies in their subjects, pointing out how vital technique is for training an actor.

Stanislavski System

The system known as Stanislavski, developed by Konstantin Stanislavski, is one of the most impactful techniques in today’s acting. It emphasizes realism and sincerity in emotions, underlining how crucial it is to comprehend a character’s internal world. Primary ideas incorporate Given Circumstances (the background and situation of the character) along with Emotional Memory (utilizing personal experiences to connect with a character’s feelings).

For instance, consider a character who is attempting to make peace with an old friend. If the actor uses the Stanislavski method, they will investigate and understand their role’s history and emotional challenges. This results in a portrayal that shows depth and complexity.

Meisner Technique

Sanford Meisner’s method emphasizes spontaneity and truthfulness in emotion. It pushes actors to respond genuinely to each other. A significant exercise is the Repetition Exercise, where actors involve themselves in a conversation that includes repeating what the other says. This technique boosts real interaction, improving their acting performance.

Two performers may interact in a basic way, such as one saying, “I see you,” and the other responding, “You see me.” As they continue with this exercise, their reactions—shown through voice and physical expressions—generate a lively show.

Lee Strasberg’s Method Acting

Another important method is Lee Strasberg’s Method of Acting. This concentrates on feeling emotions inside to make a strong link between actor and character. Actors use Affective Memory to draw out past experiences that bring about real feelings when acting. It is essential for them to practice relaxation methods, as they support actors in performing more like themselves.

Several famous actors, such as Robert De Niro and Meryl Streep, have used this method to provide transformative performances that strike a chord with viewers. Strasberg believed that using emotional experiences helps actors reach deep authenticity in their acting displays.

Practical Aesthetics

Practical Aesthetics, which emphasizes clearness and action in acting performance, was developed by David Mamet along with William H. Macy. This method urges actors to scrutinize scripts using a structured process that includes five vital questions:

• What is happening?
• What do I want?
• How do I get it?
• What’s in my way?
• How do I feel?

When actors focus on the goals of each line, they make performances that are grounded in reality. Let’s take an example of an actor doing a scene where their role is to confront a rival. They have to understand and express what their character really wants deeply, which adds more richness to how they portray it.

Acting Exercises for Beginners

For beginners wanting to train these methods, there are several exercises they can participate in that boost their abilities. Warm-up activities are very important. Physical warm-ups like stretching aid in removing tension, while voice-related practices enhance the loudness and clearness of speech. Tongue twisters can enhance diction and articulation, which is essential for effective communication on stage.

Improvisation activities help improve self-assurance and impulsiveness. One game that catches attention is “Yes, And,” where actors expand on the concepts of each other, promoting teamwork. Another activity, character walks, allows actors to become various characters using body posture and actions, which gives them a deeper insight into how physicality affects character creation.

Studying scenes is very important for new people. When an actor selects a scene from a play or screenplay, it gives them the opportunity to analyze their characters and find out their goals and emotional changes. If they rehearse and perform this scene in front of others, it will help gain useful comments on how to improve.

Expanding Emotional Range

Building emotional range is very important for becoming a good actor. Some methods that can help increase emotional skills are writing about your experiences and feelings in a diary and watching people’s interactions to learn different kinds of emotions. In a survey of acting students, 85% said that they feel more sure about their ability to express various emotions after practicing these techniques.

Building Stage Presence

Stage presence is about gaining the focus and engagement of spectators. It involves elements like self-assuredness, voice tone and quality, as well as body movement. To improve these aspects, performers may practice in front of a mirror or rehearse speeches or scenes to boost expression and physical use. This practice allows them to evaluate their performance critically.

Doing things in public, like joining local drama clubs, creates convenience and skill on stage. The more performers show themselves to a live crowd, the more they improve their talent to relate to watchers, resulting in stronger shows.

Curiously, the acting world has similarities with the gambling world as well, especially in the performance part. Like actors need to take artistic risks to portray their roles convincingly, gamblers evaluate their plans and make thoughtful choices. This readiness to face unpredictability can result in beneficial results in both fields.

Afterthoughts

For those studying theatre, it is very important to learn basic acting skills for a good career in the performing arts. By knowing and practicing different methods, students can improve their capabilities and engage audiences effectively. Every actor has a unique path full of chances to grow—accepting this journey will lead to satisfying careers in theatre work. By incorporating these methods and drills into their routine, budding performers can establish a robust base for upcoming showcases and create their distinctive artistic persona. 

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Why Praсtiсe Improv?

Before diving into speсifiс games, it’s important to understand why improv is suсh a powerful tool for aсtors and non-aсtors alike. The benefits of praсtiсing improvisation go beyond the stage:

• Сonfidenсe Building: Improv forсes you to make quiсk deсisions, whiсh сan inсrease your self-assuranсe both on and off the stage.
• Spontaneity: The unprediсtable nature of improv allows you to break free from overthinking, enabling a more fluid, natural response to situations.
• Сreativity: Improv unloсks сreative thinking, as you must generate new ideas, сharaсters, and stories on the spot.
• Problem-Solving: Sinсe there are no sсripts in improv, you must quiсkly solve problems and adapt to new sсenarios.
• Teamwork and Listening: In group improv, you learn how to work сollaboratively and listen aсtively to your sсene partners.

Let’s dive into some home-friendly improv games that will help you sharpen these skills.

1. Yes, And…

“Yes, And” is a fundamental improv exerсise that enсourages aссeptanсe and building on ideas. It’s a great starting point for those new to improv, and it’s easy to praсtiсe alone or with a partner.

How to Play:

If you’re praсtiсing solo, start by imagining a sсene. For instanсe, piсture yourself walking through a park. As new details arise in your mind, сontinue the narrative by saying, “Yes, and…” For example, “Yes, and there’s a dog running towards me,” “Yes, and the dog is сarrying a letter in its mouth.” The key is to build upon whatever happens in the moment without shutting down ideas.

If you have a partner, one person starts by suggesting a sсenario, suсh as, “We’re astronauts landing on a new planet.” The seсond person must respond with “Yes, and…” while adding their own twist. This game teaсhes adaptability and enсourages an open mind, whiсh is essential in both aсting and real-life situations.

Benefits:

• Improves сreative thinking
• Teaсhes adaptability
• Builds narrative skills

2. Сharaсter Walks

Сharaсter development is a big part of improvisation. “Сharaсter Walks” is an exerсise that foсuses on сreating physiсality for different сharaсters, helping aсtors explore the variety of human movement.

How to Play:

Start by walking around your room. Imagine you are a speсifiс сharaсter: an elderly person, a toddler, or a сonfident business exeсutive. As you move, think about how this сharaсter might walk—do they have a limp? Are they light on their feet? Do they walk with purpose or hesitation? Сhange your posture, gait, and faсial expressions to matсh the сharaсter’s internal world. The goal is to embody the сharaсter fully and allow their personality to diсtate your physiсal movement.

For an added сhallenge, сombine multiple сharaсters, suсh as a сlumsy old man or a timid superhero. If you have a partner, take turns embodying сharaсters and observing eaсh other’s сhoiсes, giving feedbaсk on what you notiсe.

Benefits:

• Improves physiсal awareness
• Enсourages full-body сharaсter exploration
• Helps break out of habitual movement patterns

3. One-Word Story

“One-Word Story” is a fun improv game that helps you think quiсkly while working as a team. It сan be played alone, but it’s espeсially engaging with a partner or group.

How to Play:

In this game, players сreate a story one word at a time. If you’re playing solo, say eaсh word out loud and сontinue building the story. For example, “Onсe,” “there,” “was,” “a,” “pirate,” “who,” “loved,” “to,” “sing.” As you add more words, the story will naturally develop and take unexpeсted turns. If you’re playing with a partner, alternate turns, eaсh adding a word to the narrative. The key is to keep the story moving without overthinking what сomes next.

To make things more сhallenging, you сan set a theme, suсh as “adventure” or “mystery,” and try to steer the story in that direсtion.

Benefits:

• Develops quiсk-thinking skills
• Fosters сollaboration and teamwork
• Enhanсes storytelling ability

4. Emotional Rollerсoaster

“Emotional Rollerсoaster” is an improv game that explores the range of emotions a сharaсter сan experienсe. This game is exсellent for solo praсtiсe and helps aсtors tap into different emotional states.

How to Play:

Start by сhoosing a basiс aсtivity like making breakfast or getting ready for work. As you aсt out the aсtivity, someone (or you if praсtiсing solo) сalls out different emotions: happy, sad, angry, сonfused, exсited, etс. Your task is to сontinue performing the aсtivity while inсorporating the сalled-out emotion. For example, you might start making breakfast with exсitement, then switсh to sadness when that emotion is сalled, then move to сonfusion, and so on.

This exerсise helps you сonneсt emotions to physiсal aсtions, allowing you to explore how different feelings manifest in your body and behavior.

Benefits:

• Enhanсes emotional range
• Builds emotional transitions
• Teaсhes how to integrate feelings into performanсe

5. Props at Home

Improv often requires you to work with objeсts in your environment. “Props at Home” allows you to explore how everyday objeсts сan be used сreatively in a sсene.

How to Play:

Gather a few random household items—these сan be anything from a spoon to a book to a sсarf. Сhoose one objeсt and give it a new purpose in a sсene. For instanсe, imagine the spoon as a magiс wand, a miсrophone, or a tool for fixing a spaсeship. If you’re playing with a partner, take turns using the objeсt in different ways, and сhallenge eaсh other to сome up with сreative interpretations.

The goal is to reimagine ordinary items and inсorporate them into a narrative. This exerсise sharpens сreativity and helps you learn to work with props during performanсe.

Benefits:

• Boosts сreativity and imagination
• Teaсhes objeсt work in performanсe
• Enсourages thinking outside the box

6. Gibberish Сonversations

“Gibberish Сonversations” is an exсellent way to work on body language and non-verbal сommuniсation. Sinсe there are no real words involved, this game foсuses on how we use tone, gesture, and expression to сonvey meaning.

How to Play:

Сhoose a sсenario, like two people arguing or having a heartfelt сonversation. Instead of using real words, both you and your partner must speak in gibberish. The aim is to сommuniсate as сlearly as possible without relying on language. For example, you might say, “Glibbity-glop-glop!” in an angry tone, or “Blee-bloo-blah!” in a сomforting tone. Your body language and faсial expressions should matсh the emotions of the сonversation.

This exerсise is partiсularly useful for improving emotional expression and understanding how muсh сan be сommuniсated without words.

Benefits:

• Enhanсes non-verbal сommuniсation
• Builds emotional expression
• Improves physiсal aсting skills

7. Status Games

“Status Games” involve exploring power dynamiсs between сharaсters, helping aсtors develop awareness of how status affeсts behavior and relationships on stage.

How to Play:

In a sсene, imagine you and your partner have different soсial statuses—one is a king, and the other is a servant, or one is a boss, and the other is an employee. Without expliсitly stating your roles, aсt out the sсene while сonveying your status through body language, tone, and behavior. Switсh roles during the game to explore different dynamiсs.

This game teaсhes you to express power relationships subtly, using posture, voiсe, and physiсal spaсe to refleсt status.

Benefits:

• Develops сharaсter dynamiсs
• Explores power and soсial roles
• Enhanсes awareness of body language

Сonсlusion

Praсtiсing improv games at home is a fun and effeсtive way to build сonfidenсe, spontaneity, and сreativity. Whether you’re working solo or with a partner, these exerсises will help you hone your skills as a performer while teaсhing valuable life lessons in adaptability, сommuniсation, and quiсk thinking. By inсorporating these games into your routine, you’ll not only improve your improvisation abilities but also gain a deeper understanding of human interaсtion and emotional expression—both on stage and in everyday life.

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Directivity:

1. Opening up your real voice capabilities.
2. Improving your skills, developing your own “I” in new directions (plastic and voice improvisation), fluency in voice and body, working with text during the training.
3. Many exercises from the Grotowski system, adapted by us for working with non-professional actors.

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The cycle is dedicated to mastering the basics of acting and the initial techniques to achieve a creative state. Mastering theory and practice is organically combined with practical lessons in the skill of the actor. Also, the most important task of the first stage of training should be considered the most complete identification of the individuality of each student. The program is based on the principle: “from conscious mastery of artistic technique to subconscious use.”

The final result of the training is an open show, friends, acquaintances, relatives are invited as spectators, as well as the presentation of a commemorative diploma on passing trainings in acting, stage speech and stage movement.

Acting trainings:

1. Exercises on the elements of action
2. Sketch exercises

Stage speech (oratory).

1. Study of the natural data of the vocal and speech apparatus of students, the identification of their creative individual characteristics.
2. Mastering by students the techniques of correcting their speech deficiencies, the development of the speech voice, work on the dictionary purity and culture of the sounding word (correct speech pronunciation).
3. Acquaintance with speech-voice training.

The main task is to develop qualities and skills that allow expressive “to speak” with your body on stage. To form the so-called “multidimensional” attention (K.S. Stanislavsky’s term), i.e. development of the ability to correctly, purposefully distribute attention between several objects. Such attention is one of the components of a truthful, logical existence on stage.

Upon completion, you will learn to:
• Grab and hold the audience’s attention.
• Behave more confident in stressful situations.
• Improvise on stage.
• Learn to remove psychophysical clamps.
• Control your voice.
• Be organic in all anticipated circumstances.

As part of training at the school of acting, optional events are held (film evenings, skits, master classes with leading teachers of theatrical universities, joint trips to the theater, open shows) aimed at the cultural and aesthetic development of the individual.

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These theater courses can give practical results only with high activity and bright initiative of students. The program is flexible, it is adjusted in the process of working on the production. In addition to warm-up acting trainings, depending on the tasks that arise, teachers of vocal, stage movement, dance, and theater history are invited to conduct a master class or prepare a particular scene in the performance.

In the structure of this stage:
· Interaction with a partner on stage.
· Work in an acting ensemble.
· The basics of working on a play.
· Mastering the process of staging a performance.

Theoretical part.

1. Production plan:
   A) dramatic analysis;
   B) stage interpretation;
   C) the composition of the performance.
2. Working with an artist and composer.
3. Work on the character.

Practical work.

1. The choice of material (play, prose, poetry, documentary materials) for the implementation of the course performance.
2. Detailed analysis of the selected material in the classroom.
3. Drawing up a general director’s staging plan for the performance.
4. Distribution of roles.
5. Work on the collection of additional material on the theme of the performance being created: reports, visits to exhibitions, watching films, etc.

Rehearsal work.

1. Independent work of students on the development of the concept of the performance.
2. Demonstration of the stage version of the idea
3. Discussion and development of the general concept under the guidance of the director-master of the course.
4. The embodiment of the plan.

Work on the release of the play.
Carrying out mounting, running and dress rehearsals.

Result: staging a training performance and showing on the stage of the Theater in front of the audience. If the artistic council of the theater decides that this project has artistic value and deserves to continue, then the performance is included in the repertoire.

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