With the extension of the initiatory act, the body of the spectators simultaneously becomes a mystic of the world of references to the hidden mysteries of the language of myth. For this purpose, Terzopoulos' comedian performs a physical score while drawing arrows and energy arcs that inscribe the connection of the body with space. In this, the hero of an imagination, interpreted by the comedian, is compelled to inscribe the incomprehensible, the non-"denoted", that is, the anonymous. The operation is carried out with the help of sound signals, charged to convey the "voice" of corporeality to space.

Thus, Terzopoulos' comedian creates a "corporal text" that functions as an independent and self-referential dramatic entity. Moreover, the "corporal text" follows a defined regularity, imposed mainly by the space. Additionally, the atmosphere, whether virtual or real, of the human operates on the utopian environment, which belongs both to the hero and to the comedian interpreting him. Thus, the nature and everything surrounding the actor and the fantastic body charge the place of dramatic action with ancient references. They act on the semiotics of the body, which becomes, in this way, the focal point of memory stirred down to the minutest cells of this body in motion or at rest. The comedian, thanks to his theatrical physicality, is ultimately called to represent the world, to rewrite the history of the universe, to rebel, and to recreate new mythological stories and past myths.