Anne Imhof

things that we figure out.

And mostly it is the movement of audience members.

It is where our open space is created in the part of the pieces that are where everybody is together in one space and the viewer can go wherever they want.

And performers have certain places where they perform or where they go to or like a certain trajectory that they follow.

So in these moments, it's very palpable how things shift and change.

In the more rigid structures, like in Doom, the third act was a ballet.

And in the ballet, things were way more structured because the music and the movement were so closely connected to each other that it had to be like it.

But still, every of them has the agency because they're the ones who are performing in the end.

It's not me.

And that's a big part of the work, I guess.

I am a big believer in that the more agency, the better a person can be the best they can with their skills that they have.

So in some ways, like a ballet dancer has a career of like

10 to 20 years has a whole different world that they can draw from than I have.

And we know about this.

But like people say, I'm good at this to bring the best out of people and make them like have access to the excellence in the moment of performing.

I'm not so sure if that's like kind of a method or something.

I think it's like, it's the way of working that I propose off stage that then is projected on stage.

So I think the way of working that I think my ability to create work or to create movement and the ability of...

the dancer who is actually the expert in how to execute the movements.

It's like kind of that's key.