dance,” said Ms. Read, adding: “The movement is critical

dance,” said Ms. Read, adding: “The movement is critical to mood and evoking a feeling in the audience,” similar to a dance, a ballet, an opera or a musical performance.

The unique and important aspect of t^p “Exchanges” is the importance the audience plays in each performance.

“The audience is terrific,” Ms. Portman said, adding with each segment of the “Exchange,” audience participation “is growing. With each program we involve the audience a bit morp<^ adding that with Ms. Rogers the audience was large, more than 70 persons, and several worked with the display and the artist.

“We went one step further with Ms. Rogers,” Ms. Portman said, adding with a smile,“we will go one step further with our final segment.”

The performers present their pieces without interruption. After the final performance, the audience performs.

“There will not be dancing,” Ms. Portman said, not elaborating on audience particpation. Questions or answers, examples and movement are left to the three performers.

Each dance uses some dialogue, each performance uses movement and music or song and each dancers has choreographed the piece herself. Each dancer dances in the piece. Each uses a woman character and deals with sleep and dream and movement through time. And while similarities tie the three together, each choregrapher-dancer’s performance was unknown to the other. Together they create the final “Exchange.”

As the evening skies darken, Ms. Read will open the presentation with her solo-production, “Sea-Baby.”

Trained classically in ballet since childhood, Ms. Read “shifted techniques to work on more intuitive work” after reaching adulthood.

“It’s like multi-media,” she said, searching for a precise word to describe her movement.

“I’m using many different elements,” she said of the piece, adding this is only the second solo piece she has presented, as much of her past experience is with group dancing and performing other dancers’ work.