The Protected - more questions

For the Dance Journal, Gregory King wrote, "Athletic and nuanced in its presentation, The Protected revealed King in positions of defiance and strength when she stood in an open stance with her chest listed and arms raised above her head and bent at the elbows. She was unapologetic in her demeanor as she overpowered the space with her deliberate musculature. King danced fearlessly..."

Read the whole review here: Artists at Home

A "performance" is like a "publication". What is shown (through the stage or through text) is fully developed, thought out, and researched. But the action of "putting it out there" (read: the work for performance and/or publication) also proves to be influential in the choreographer's/ author's research.

Because the creative process is organic, it's never "really" finished.
~Should the work be left to gestate, it might produce different results.
~Should the audience experience the work at a different time or place, he/she/they might have different interpretations of the work, based upon his/her/their lived experiences and what they bring to the work.
~What would happen if the creator could re-visit the work:
       ~ with his/her new lived and researched experiences?
        ~ with feedback from other professionals in the field?
         ~ with feedback from audiences who are not experienced in the field?

How do lived experiences change with time? How do the memories of lived experiences change with time?

A moment from "The Protected" caught by Bill Hebert.