 “Improvisation” in dance often refers to the intentional agency and action of dance-makers and performers (who may or may not be the same people) rather than the result of that activity. Three types of improvisation in theater dance have been identified by Carter (2000: 182): 1) embellishments where set choreography persists, 2) improvisation as spontaneous free movement for use in set choreography and 3) improvisation for its own sake brought to a high level of performance. An example of 1) would be the situation in which a dance performer is allowed to amplify existing movements (doing a triple pirouette in place of a double, for example), or a stylistic flourish such as an extra flick of the wrist or tilt of the head. An example of 2) would be the case in which no choreography has been provided for eight bars of music and the dancer(s) is given the freedom to insert whatever he or she wishes in the open space. Finally, 3) would cover the situation that D. Davies (2011b) might call a “work performance”, where a work is choreographed by the dancers while dancing. It would also include the situation where either the whole performance or a substantial part of it is improvised from start to finish. Dances comprised of Steve Paxton’s “contact improvisation”, for example, would count as improvisation for its own sake (see Paxton 1975 and 1981).