Being close to another person has a huge impact on our lives. Getting too close can be a form of aggression, and being to distanced can be perceive as a sign of being cold and careless. However, we are never indifferent to the closeness of another human being, no matter what it is. In the performance, time – measured by the pendulum and the music related to its movement – is the key tool that shapes the choreography and the relationships between the performers.

Each of them creates a different experience of closeness, or a search for it on stage. They look at each other, and their actions cross creating new contexts, opportunities and challenges in getting closer to the other person. Between them, there is always a pendulum with its mirror surface, in which both the performers and the audience look at each other. The ball of steel – the Foucault pendulum – is also a symbol of the passing of time that twists and bends through space. In a similar way, the ball allows to create an interaction with the timeliness of action on the stage, creating a rhythm that determines the pace and dynamics between people, or being in one’s own mantra. Interaction with the ball and through the ball with stage partners is a context for exploring how closeness correlates with time.

The use of the ball will be an extension of the research which was initiated in the Martyna Jagodyńska’s monodrama Martyna Jagodyńska “E-presence” with Ciesielski’s choreography.