The use of musical dramaturgy in physical theater represents one way to deepen understanding of dramatic structures and movement patterns. Utilizing songs allows students to perceive and internalize dramaturgical principles through bodily experience. Songs – particularly their clear structure (e.g., intro, verse, chorus) – facilitate memorization and create strong memory traces due to a combination of sound and rhythmic elements. They represent a clearly framed shape that has a beginning and an end. Typically, one verse does not exceed 40 seconds in length, making it easier to perceive the whole and providing a clear idea of how action evolves from beginning to end. Through exercises, students learn to perceive dramatic twists and flow, strengthening their ability to analyze structural functionality primarily from the perspective of rhythm and dynamics. The physical score then becomes an analogy for musical composition, allowing for dynamic structuring of actions while responding to rhythmic stimuli. In this way, a specific musical dramaturgy of physical action emerges that differs from traditional dance choreography or acting. In conclusion, I would like to add that according to my colleague Eva Dvořáková, this method may not work with every song. I use Ruthenien songs that derive from everyday speech; they mimic dialects, accents, rhythms, and stresses of language (as do all unaltered folk songs). Unlike Czech folk songs that have undergone collection processes and adjustments into forms (Baroque - classical harmonies), Ruthenian songs exhibit a certain incompleteness and freedom in rhythm. They do not display an artificial harmonic refinement known from Czech folk songs.