The closeness of another person has a huge impact on our lives. Getting too close can be a sign of aggression, and too little can be a sign of coldness and lack of concern. However, we never remain indifferent to the closeness of another person, no matter what it is. Time – measured in the performance by the pendulum and the music associated with its movement – is the key tool that shapes the choreography and the relations between the performers embedded in it.

Each of the performers creates a different experience of intimacy, or searches for it on stage. They look at each other and their actions intersect, creating new contexts, opportunities and challenges in getting closer to the other person. Between them there is a pendulum with its mirror surface, in which both the performers and the audience look at themselves. The steel ball – Foucault’s pendulum – is also a symbol of the inexorable flow of time, which is bent by space. In a similar way, the sphere allows you to work with the temporality of action on stage, being in a common rhythm that determines the pace and dynamics of getting closer to people or being in your own mantra. Interaction with the ball and through the ball with partners on stage is a context to explore how closeness correlates with time. The use of the sphere will be an extension of the search started in Martyna Jagodyńska’s monodrama entitled “e – presence” in Ciesielski’s choreography.