The actor as subject: the greek exercise
One actor in the middle and at least seven or eight others around her. He starts a movement and everyone else must help her complete his movement.
For example, if she lifts a foot, someone immediately places themselves under his foot so that the actor is standing on them.
The protagonist does whatever she likes and the others help her raise herself up, roll on to her back, strech out on her side, climb to the air, etc, by inserting themselves into the relevant space.
The protagonist must always move slowly to allow the others (who must move quickly) time to discover her intensions, which should no to be belt out.
To make it easier to discern these intensions, the actors must all try to touch any part of the protagonist’s body and translate the muscular messages they recieve. The most important thing is to avoid manipulating the protagonist actor – it is up to her to decide her movements. If liked, create two or more simultanneous groups, and after a few minutes ask the protagonist to change groups without stopping the exercise – not the group to change protagonist, which would be manipulation. The exercise ends when the protagonist gently returns to the ground. Beware – once, in italy, i said ‘stop’ and the actors dropped the protagonist on the floor. That was a mistake. A serious mistake.