The chapter examines Yael Flexer and Galit Liss’s shared interest in Age, Ageing and ‘In/visibility’ as choreographic drivers for the creation of professional works with cross-generational and over 60s female performers. It hones in on their recent joint touring production Acting Our Age (2023) co-created with an international cast of performers aged 26-76, delineating the different ways in which age, ageing and in/visibility manifest as choreographic form and content bringing to the fore a methodology that prioritises somatic, socio-political and ethical values attuned to the ageing body in performance (Farmer et al 2022, Liss 2024).

The work uses a variety of choreographic strategies that build on Liss and Flexer’s previous independent works. These include an informal and proximal mode of performance to engender embodied viewing, unearthing autobiographical nuggets of material used as text or as impetus for movement creation (Suslik 2019:84), playing with different modes and references to the visible and invisible - what is displayed and what is hidden from view - to underscore the intertwining of presence and representation (Flexer 2020) and a pointing towards co-authorship and nonauthoritarian choreography (Lepecki 2013). As a dancer’s personal movement archive serves a key choreographic component in Acting Our Age (2023), the discussion also touches on notions of ‘the body as archive’ drawing on writing by Lepecki (2010), Foellmer (2020), Adair & Griffiths (2020) and Schwaiger (2012). However, rather than exploring the re-staging of repertoire , the writing (and performed work) focus on the ways in which the archive is used as choreographic device in relation to the overarching theme of age. Similarly, notions of ‘choreopolicing’ and ‘choreopolitics’ as discussed by Lepecki (2013) ground a discussion of the ways in which socially constructed conventions of the ‘danceable’ (Laermans 2015) and the disciplining function of dance underlies and frames audiences and dancers’ own perceptions of age and stage performance (Schwaiger 2012).