02/07/2026
Агов! Готові почитати ще один відгук про тренінг в горах в Чехії? 🤪
«One of my original intentions of participation in The COMPASS project was to “reset” and shift my perspective on my life. In a certain sense, this did happen. The digital detox—being without constant contact with friends and having ongoing projects paused—created a space where I could observe my life from a distance. It allowed me to reconsider what actually feels valuable and what holds me in place.
Interestingly, I noticed that I am not as strongly attached to many elements of my daily reality as I might have assumed. This feeling of detachment did not come as relief or clarity, but rather as something strange—an unexpected signal pointing toward deeper questions about my current focus and direction.
I am still in the process of understanding what, if anything, I want to change as a result of this experience. As often happens for me in group processes, I naturally began to observe things through the lens of a facilitator. I noticed moments where I was tracking structure, endurance, and the capacity to hold a frame.
At the same time, I could also reflect on what I might do differently if I were in a leading role, and what priorities would shift in that case. This created another layer of learning—less about the experience itself and more about my own orientation within such processes.
A significant part of the trip was observing group dynamics: how the collective unfolds under unusual conditions, how relationships form at different depths, and how contact develops or remains surface-level between different people. This became an important field of attention in itself, offering insight both into others and into my own ways of entering or avoiding connection.
Another dimension of the experience was its “outdoor” and experiential aspect. Through episodes of physical exploration and interaction with natural elements, I encountered a kind of embodied learning that feels relevant to my work in theatre—especially in relation to outsider-specific or adventure-based approaches. These moments gave me material that I can potentially bring into future training or artistic contexts.
Overall, I did not necessarily learn much about Adventure Education in a formal sense. Instead, I discovered something personal: a shift of perspective that emerged through lived experience rather than structured knowledge. I revisited my artistic vision in unfamiliar circumstances, met new people, and observed group processes unfolding in a context outside of my usual environment.
The main outcome, perhaps, is not a conclusion but an opening—a continued process of reflection on how I see my work, my role, and my direction.»
Vlad Zernov
