Tramp, one of the recent productions of the Théâtre Laboratoire Vicinal of Brussels, clearly exemplifies the main concern of the group: a tendency toward abstraction embodied in a nonexplicit use of language/sound and an emphasis on objects and the physicality of the actor. Although related to the work of Grotowski in the austere “poverty” of its means and its attempt to exploit as fully as possible the physical presence of the performer, Tramp is quite different in its approach to literary content. While story and character have provided a core or focus for Grotowski's Polish Laboratory Theatre presentations, the Vicinal has abandoned these elements almost totally. According to Frédéric Flamand, the director of Tramp and an actor in it, “the strength and magic of the play come from the concentration into a unified energy of almost-abstract scenic moments ….”