Yossi Berg and Oded Graf speak of movement material as both an anchor and a compass, a DNA core formed from intuitive sources, such as moments of daily inspiration, references to past works, and influences from both high culture and popular culture. The movement material always passes through their bodies, becoming the foundation from which all layers of the piece evolve in dynamic processes that charge it with new meaning: through dialogue with dancer-partners-creators, and through the “coloring” of additional layers that emerge in interaction with text, space, or props. When selecting dancers, they prefer finding partners with openness, curiosity, emotional intelligence, and an ability to move between styles and modes of expression. 

In his reflection, Dr. Erez Maayan Shalev draws on Richard Schechner’s theories to demonstrate that every performance originates in a pre-existing source, yet becomes unique through the specific body that performs it, the context, and the interpretive process, that gives it renewed life. He refers to the complex duality that Berg and Graf themselves highlight: on the one hand, the performing body is vital to the creation and infuses it with subjective meaning; on the other hand, there is a recognition of the possibility of replacing performers, stemming from an understanding that the work itself is always in motion, just like the body that carries it.