Especially in this exercise, it is important that the actor really plays the internal rhythm: a machine is obviously mechanical so we should not demonstrate the external aspects of people. This game deals with machines of rhythms and even when the Joker asks the actor to show the machine of Rio or Mexico City, they should not show ‘malandros cariocas’ 22 or sombrero-clad men dozing under a cactus tree. The aim of the exercise is to reveal inner rhythms, rather than external cliché behaviours. Sometimes, the rhythm of a social ritual can be shown by keeping the same rhythm and changing the pace – making it slower or faster – rather than by making faces. This is a rhythm exercise, not an image one. An actor goes into the middle and imagines that he is a moving part in a complex machine. He starts doing a movement with his body, a mechanical, rhythmic movement, and vocalising a sound to go with it. Everyone else watches and listens, in a circle around the machine. Another person goes up and adds another part (her own body) to this mechanical apparatus, with another movement and another sound. A third, watching the first two, goes in and does the same, so that eventually all the participants are integrated into this one machine, which is a synchronised, multiple machine. When everyone is part of the machine, the Joker asks the first person to accelerate his rhythm – everyone else must follow this modification, since the machine is one entity. When the machine is near to explosion, the Joker asks the first person to ease up, gradually to slow down, till in their own time the whole group ends together. It is not easy to end together, but it is possible. For everything to work well, each participant really does have to try and listen to everything he hears.