During the last two decades, contemporary dance choreographers of Latvia have been more and more intensely involved in staging dramatic theatre performances. This observation has served as a basis for my research question: if and how the stage movement paradigm has changed in the dramatic theatre due to the input of professional contemporary dance choreographers. The increase of the choreographer’s competency and responsibility is related to the paradigmatic change in the theatre in general. Hans-Thies Lehmann, the distinguished German theatre theorist, has developed his post-dramatic theatre theory (Lehmann 2006) that promotes focusing on a live and direct relationship between theatrical performances and their audience. As a result, despite that the director still takes on the main responsibility for the staging, the input of other members of the creative team often equates with the director’s share of creative work. The text of the play in contemporary theatre is often regarded as one of the elements creating the stage work alongside the scenography, music, light design, video projection, etc. In this interdisciplinary kind of art, the choreographer plays an equal role by developing both individual performers and the whole ensemble, thus striving for the most matching and expressive psycho-physical stage presence of the performers. In my contribution, I have focused on Agate Bankava (b. 1991) as one of the most productive new generation contemporary dance choreographers. She regularly works both at theatrical and contemporary dance projects as well as for different interdisciplinary contemporary art performances. To characterize her work, I have described the strategies she uses following the principles Agate Bankava has stated as the basis for her work: high professional standards combined with a wise and intelligent thought pattern, consequently leading towards a comprehensive and sophisticated artwork that simultaneously preserves a link to reality.