Ping-Pong Balls
- Mirko Rizzi
- Aug 11
- 5 min read
Updated: Aug 16
Ping-pong balls are a fascinating material for developing a wide range of physical and theatrical explorations. Here I propose a complete sequence of activities.
I never present the entire sequence in a single session. I prefer to divide it into sections and combine them with other kinds of activities over the course of several sessions.
Ping-pong balls have several useful characteristics:
They are extremely light, so it takes very little to make them fall.
Unlike rubber balls, they do not bounce very high.
They are inexpensive.
Warm-Up Exercises
1. Pass and Swap
As the group walks around and fills the space, the workshop leader gradually distributes the balls by placing them in the participants’ hands.
Anyone who receives a ball must get rid of it as quickly as possible by passing it to the first person they meet. Participants may not avoid the balls, refuse them, or run away.
If the person they meet already has a ball, the two participants must swap balls. Continue until everyone has one and the exchanges become frantic.
2. Tossing in Pairs
After forming pairs, give each pair one ball. The two participants must toss it back and forth without stopping their walk, trying not to drop it.
Please note: each pair determines the distance between the two participants. Remind them that the aim is to exchange the ball without dropping it.
There is no point in making throws so long that the instruction can no longer be followed. It is better to begin close together and gradually increase the distance.
3. Two Balls in Pairs
Proceed as in the previous exercise, but this time both participants have a ball. They must throw the two balls simultaneously.
Do Not Touch
These activities develop physical and emotional control and encourage delicacy.
There is only one rule: once the participants have placed their balls on the floor and spaced themselves well around the room, they may not touch them again.
If a ball is accidentally moved, only the workshop leader may return it to its place.
Possible activities include:
Observing the ball from every angle.
Moving one finger, then several fingers, and finally both hands close to the ball without touching it. The movements can gradually become faster.
Repeating the exercise while standing and using the feet, then jumping over the ball and dancing around it.
Walking among the balls scattered across the floor, stepping over them or avoiding them in different ways, while always remembering the position of one’s own ball.
Moving the balls without touching them by blowing on them.
Exception: touching the ball so gently that it does not move at all.
Balance
Exploring how to balance the ball is not an exercise in acquiring a technique.
As always, the sequence progresses from very easy tasks to more difficult ones, taking the participants’ ages into account.
The aim is to focus attention, train concentration, and develop sensitivity through play.
The following sequence is only a guide. It can be adapted or expanded according to the workshop leader’s imagination and the group’s needs.
Each activity should first be attempted while stationary and then in motion.
There is only one rule: the ball must not fall.
We can balance the ball:
On an open palm.
On the back of the hand.
Between two fingers.
Between the knees.
On top of the feet.
In the crook of the elbow.
Behind the knee.
Between the head and one shoulder.
In the hollow around one eye.
In the hollow of one ear.
On the nape of the neck.
On top of the head.
On the forehead.
Between both raised feet.
On the sole of one foot.
On the back.
We can also:
Toss the ball and catch it with both hands.
Toss the ball and catch it with one hand.
Toss the ball from one hand to the other.
Pass the ball behind the back.
Bounce the ball off the floor and catch it.
Throw the ball toward the ceiling and catch it.
Have everyone bounce their ball off the floor at the same time.
Changing Physical Properties
We can now introduce theatrical expression by exploring how, through play, our relationship with an object can alter its apparent physical properties.
The participants should usually remain in constant motion.
They may not throw the ball. They must handle it without losing control.
They should not be distracted by what the others are doing, but remain focused on their own work and sensations.
Imagine that the ball:
Is being pulled toward the sky.
Is extremely heavy.
Smells terrible.
Has a wonderful fragrance.
Is frozen.
Is burning hot.
Gives off an extremely bright light.
Produces a deafening sound.
Plays beautiful music at a very low volume.
Is sticky.
Is disgusting.
Is slippery.
Is prickly.
Pulls us in every direction.
Is impossible to move.
Changing Emotional Relationships
Next, we explore acting out different emotions and relationships toward the ball. The rules remain the same as in the previous section.
Act out the following situations:
My ball is more beautiful than everyone else’s.
My ball is uglier than everyone else’s.
I want to give my ball away, but nobody wants it.
I am afraid someone will steal my ball.
I proudly show everyone my ball.
My ball makes me laugh.
I try to make my ball laugh.
I tell my ball secrets and gossip.
I confide in my ball.
My ball confides in me.
My ball never stops talking.
My ball refuses to speak to me.
I scold my ball.
I apologize to my ball.
I am jealous of my ball.
I am desperate because I am afraid my ball will leave me.
My ball has left me.
My ball and I have made up.
My ball stresses me out.
My ball plays tricks on me.
My ball hits me.
My ball and I are no longer speaking.
I dance with my ball.
I lull my ball to sleep.
Transferring Movement
Transferring movement is part of object animation. This time, all attention must be focused on the object, not on the animator.
Participants must move the ball as though it were something else—living or mechanical—“lending” it the movement it needs.
This requires constant attention to the ball. A distracted gesture is empty and meaningless, as well as imprecise or incorrect.
We can move the ball as though it were:
A snail.
A snake.
A frog.
A cricket.
A little fish.
A butterfly.
A bee.
A fly.
A falling drop of water.
A kite.
Water from a fountain.
Water flowing in a river.
Seawater.
A hot-air balloon.
A parachute.
A soap bubble.
A cloud.
The second hand of a clock.
A pendulum.
A blender.
A fan.
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