Ethical dilemmas in the choreographic approach. Actors vs dancers

The beginning of my career as a young choreographer often finds me working with both dancers and actors. This duality implies approaching different ways of working, a different structuring of the creative stages, but also an adaptation at a conversational, explanatory, bodily level. All these factors give rise to a series of hypotheses that I intend to address from an ethical perspective. Between the two forms of work there are observable differences that arise from the bodily capacities of the actors, a fact, moreover, absolutely natural. But a flawed approach that I have observed both in my interaction with the two stage formulas and in external projects is closely related to the underestimation of performers, a kind of identical label applied to a variety of products. Is it morally right to make an early work plan and anticipate how we will work with a team of actors? Or should we prepare a module only after observing the capabilities of the team, the ones that might exceed our expectations? Is it ethically normal to construct a large amount of choreographic material just to replace the presence of unspoken words on stage? All of these represent ethical dilemmas, although they appear to be components of ordinary behavior. I will look at both personal mistakes in working with actors vs. dancers, as well as those observed from the outside, trying to find out why underestimation occurs so often in the choreographic world.