This tableau vivant stage piece was nearly static and posed a significant innovation in the context of the theatre conventions of the time. On the other hand, it was accompanied by blasting acoustic effects, such as recordings of speeches, TV and radio shows, sounds from processions, street noises, production plants, and so on. The gallery version of The Bus featured a still figural group on top of a platform, hinting at a set of passengers and the driver of the demonic vehicle, brought out of the dark by a strong, blinding limelight. From time to time, the grey-clad passengers uttered a silent shout, which developed into hysterical laughter. The other changes appearing on the actors' faces and in their bodies resulted from their extended stillness in an oppressive lighting. The driver, frozen with his leg on the pedal, and just one woman periodically repeated body movements resembling childbirth.
The duration of the show was undefined – it lasted as long as there were spectators in the room.
Initially we thought that this would be a regular provocation of the audience members, who would watch for a while and soon leave. But fifteen minutes passed and they didn't, twenty minutes passed and they didn't, half an hour, forty minutes, and they still weren't leaving, so I pulled the power cable, the tape player stopped, I switched the lights on and people were still there, in a strange trance appropriated from that image. – Wojciech Krukowski recalled.
The Bus 2 was an intervention in public space, and at the same time an artistic modification of the first staging of the piece. In Wetlina, the group used a derelict bus abandoned on the side road. The performance lasted over an hour and featured approximately thirty to forty Akademia Ruchu actors, who assumed still poses, just like in the previous version. The random audience consisted of local residents, commuting between the town and train station.
Ewa Gorządek, transl. AM, June 2016