This is an empirical study of myself as a present, and non-present, performer with the aim to study in what ways can the connectivity and communication start, evolve and progress within sensory theatre performance for disabled and diverse young audiences. I have examined the areas of performative; space, play, awe, curiosity, anticipation, action, listening and responding. The opportunity of finding my own methodology has included stepping out of my role to embrace failure and disorder, which has been very stimulating and exciting. The challenges have been many but some of them were concerned with how to analyze and evaluate human connection, when the experience is a felt experience, from my perspective as an actor/performer, and not an intellectual proposition. In the results I present a methodological model of performative connection which consists of steps that can loop in different intervals and are correlated and dependent on the others. The conclusion states that the core is found in the one-to-one encounters and the deep human connection between performer and audience participant. The underlining aim of my project and this essay is a theatre practice where all humans are welcomed and celebrated, which promotes a more accepting and inclusive society that embraces disability and challenges traditional conceptions of what theatre should be. / <p>In this essay I have a film of the sea and a sound recording. These are not availiable in the Diva form. </p>