Microchoreographic zones are polygonal points that support a detailed record of the actor’s face. The facial polygons are arranged in such a way that the face is split up into seven “hot zones” and four “cold zones”. It is in the hot zones that a potentially large collection of “emomechanical mimes” arises. In the cold zones, only a minimal collection of facial gestures is possible.

Awareness of one’s own facial mask and its dynamics makes the actor capable of an emomechanical theatrical presence which the actor repeatedly “lives” not “acts”. Its purpose is to transmit to the spectator an emotional sequence in time. Just as the actor’s biomechanics are only the actor’s direct idea about identity without unnecessary mimetic information, this “microchoreographic emomechanics” is only the first of three levels of post-gravitational theatre. The second level is abstract and suprematatistic information about the actor and his identity. The third level can reconstruct the actor’s identity through a collection of emomechanical mimes, with the help of an “umbot” or the tools contained therein.

Only an awareness of the actor’s emomechanical mimes can stimulate the spectator’s understanding of “syntapiens”.