The first workshop served as an introductory laboratory and conceptual alignment between participants, focusing on understanding the avatar not as a simple technological output, but as a potentially autonomous scenic entity. The emphasis was on familiarising participants with motion capture tools (full-body and facial capture), but also on investigating digital expressiveness as an artistic issue, not exclusively a technical one. The central questions concerned how the actor's movement can be translated into a credible and expressive digital presence, what conditions are necessary for the avatar's facial expressions to be perceived as "alive," and how these processes can be harmonized in a context inevitably marked by technical limitations. During the exercises, participants found that the facial capture method becomes an essential dramaturgical tool, as small variations in expression produce significant differences in meaning in the viewer's perception. A major conclusion of the workshop was that the act of digital creation involves a specific form of performative training, situated between corporeality and the imaginary: the actor must learn to "inhabit" a body that does not belong to them materially, but which reflects their intentions, rhythm, and inner tensions. Thus, the avatar was conceptualized from this stage onwards as an emerging stage partner.