Ethical perspectives of choreographic discourse

It is a well-known fact that choreography is part of the area of performing arts that requires a certain rigor of the body and precision in movement. However, over time, the art of choreography has evolved, transforming into a form of expression that is no longer necessarily conditioned by impressive technical skills. Although my training in the choreographic field is structured according to classical norms, the subject of my doctoral research is directed towards an area where movement is not the main point of interest, but rather is used as a therapeutic tool. Therefore, as expected, the way I normally look at movement, in the construction of a show for example, has undergone drastic changes. I believe that this is also the moment when the issue of ethics intervened during my research, with which I already made contact in the construction of the first practical laboratory, where I interacted from a choreographic point of view with approximately seventeen seniors between the ages of 65 and 93, creating a 30-minute performance-experiment. This lab put me in the position to restructure the discourse that I would normally have when constructing a choreographic performance, which I had to adapt according to the different ages and bodies I worked with. So, many times I found myself in the position where I was reflecting on the indications I give, so that they are as correct as possible from an ethical point of view, contributing to a healthy relationship between me and the seniors, but to also regulate certain clear, scenic situations that could not be left to chance.