This paper summarises the shared creative and educational experiences of authors who come from the fields of dance and puppetry respectively, setting down nine principles, a glossary, and the description of multiple exercises that are less dominant in, or completely absent from the canon of contemporary Hungarian theatre education. These are the following: the agency of (bodily and inanimate) material, the creative potential brought forth by discomfort, an anti-elitism that isn’t achieved at the cost of technical training, event-like-ness, world-creation that is not the equivalent of fiction, and the impossibility of accurate reconstruction.