In the black cube of the stage, as in a wild carnival, diverse theatrical expressions meet. Fears, discomfort, shocking experiences are expressed by the performers through animated objects, dance, movement and mime, and pull the audience into a sensory-emotional vortex of different genres, stage styles and means of expression.

Dancers, accustomed to improvisation and abstract movement, actors whose expression comes from a certain frame of the story and need a sharper frame of reference for their performance, are connected (controlled) by the puppet animator, who moves his body or he uses the instrument only as a medium through which he breathes soul into a previously dead and motionless doll or object.

The performers are faced with foreign means of expression - actors with dance, dancers with mime and puppeteer with his body. Different ways of thinking or the principles of working on the chosen motif lead the creators to surprising turns and tense connections, from which a tissue of relationships is created, which come to life in the story and fill the black cube of the stage.

Several stage expressions are present in the play. Dance, play and puppet animation. On the one hand, we have dancers accustomed to improvisation and abstract movement, on the other hand, actors who need a sharper frame of reference for their performance, and their body control and expressiveness are different from a trained dancer. Between the two extreme poles (dancing and acting) we place a puppet animator who uses his body or he uses the instrument only as a medium through which he breathes soul into a previously dead and motionless doll or object. When the actors present their character, their current stage mask through their expression, the dancers hanging from the ceiling and attached to elastics with their movement, swaying, levitation, symbolize to the viewer the invisible transition between the stage and the mask of their true self.