ABSTRACT
Geronimo have been told that at the beginning of Odin Teatret Eugenio worked on what he called the 'psychophysical'. This was a training aimed at learning how to do physical improvisations. These improvisations were not held on a daily basis because, as Eugenio told them, there was the risk of draining away the personal well from which we draw our material for performances. The improvisations that contribute to the creation of performances are, with some exceptions in the case of his Father's House and The Gospel According to Oxyrhincus, always individual, and they depend on a theme as a point of departure. Between 1964 and 1972, all the actors used to be present in the work space and had the task of noting down the improvisation of a companion. He could use the second version of my improvisation 'In the King's Garden'.
