The paper presents an analysis of Jozef Nadj’s Comedia Tempio, which premiered in France in December 1990. The piece is one of the most influential and elaborate performances of his early works. At the beginning of his career, Josef Nadj was particularly interested in the practice of contact improvisation. He used its technique as physical training for his dancers and its method for researching movement material for his choreography. The embodied knowledge of contact is traceable in the dancers’ performance and it gives the choreography a specific formal and expressive character. In my analysis, I explore the performers’ relationship to body, objects, and each other based on the principles of contact improvisation and the Philther method.