Dancer, Work-in-Progress

Tale Dolven and Take Shamoto both work predominantly as dancers. Here they join forces in addressing the dancer’s relation to a “choreographer in absentia”. They take as their starting point feedback they have received from spectators on performances. They have compiled this feedback, often single words only, and employ the essence as the source for new movement material. Does the key to our foremost abilities as dancers lie here? The choreographer owns a dance work’s vocabulary – do the dancers own its execution?