If the choreographic structure, in itself, before even looking at the dancing, isn’t a central force driving the work, then we’re left with the dancers’ sheer will power, charisma, engagement, performative qualities etc.
It’s a valid option of course, but one that can turn out to be very fragile with works running for a long time,. As with the novelty of the whole thing naturally fading away through repetition, it becomes much harder for dancers to tune into that zone of acute excitement, danger, freshness etc required in order to easily produce this driving energy.
When the choreographic structure/mechanism is made in a way, which in itself, produces driving qualities, it tends to help balance the (occasional) drop in dancers energy and engagement, and is also a way to regenerate and facilitate the emergence of the performative energy of the dancing itself.
