Performing ''in the round'' without a stage as buffer, even when nude, is important for Java Dance Theatre artistic director Sacha Copland.
''The audience feels very close to it, so they are part of it without being put on the spot. Our work is very sensory and immersive.
''We like to engage all the senses.''
She admits the style means the company's dancers are vulnerable.
''If you are really open and genuine in a really comfortable way, invite the audience to be engaged and close to the action, it's rare that anyone takes that for granted.''
Copland puts her ''style'' down to growing up in the small Canterbury town of Kirwee, where they were free to roam about and do things like making huts out of trees.
''We had a tactile relationship with the world in the way we interacted with space and nature which has really influenced my work.''
It was also a place where everyone knew each other, a feeling she likened to her dance works.
''Usually, by the end, audiences feel they know us and we feel we know them. It's like being invited over for a dinner party.''
Copland grew up learning ballet and at 17 went to the New Zealand School of Dance. She has spent the past few years learning more about choreography.
''One of my favourite things about dance is it brings people closer together. When you look at social dance, the differences between people drop away. It's bringing people closer in the same space and actually communicating physically lets things like language barriers or culture barriers drop away.
''That is what I like to do with the audience. To invite them into something where they feel close to each other and close to the work.''
Copland started Java in 2003 and has since made 15 full-length works. The company regularly tours New Zealand, including to the Dunedin Arts Festival with Back of the Bus a few years ago and about five years ago started touring overseas.
She still dances herself, often under-studying a work for its first performance and occasionally filling in to give a cast member a break when multiple performances are required.
''It's interesting to do your own show. It's quite a surreal experience.''
As part of celebrating all the senses, she incorporates live music into her work.
In The Wine Project, as well as three dancers, she has a violinist and cellist.
''Having live music is quite different. The music develops what happens. I never want to work with recorded music ever again, now. It really brings the show to life and keeps it alive. It's been a big development for this work.''
It was not hard to find the musicians keen to give her type of performance a go and, as she loved string instruments, she wanted to include those.
''They are really brave as they have to jump on barrels and play a character. They have to be flexible.''
She also likes to surprise audiences. In one of her works she drops a 40kg bag of flour slowly over a performer.
In The Wine Project she wanted to look at how people interact and took inspiration from 7000 years of wine making and uses wine barrels and grapes to evoke images of Roman times - the battles and coups that have happened throughout history.
''You are using ingredients that people have used more than 7000 years it sort of evokes a whole lot of images from different civilisations which I really like and that's where the idea comes from.
''It's looking at that moment where you've got your human needs covered and you wonder what's next.''
So the nudity in the work reflected Dionysus, the Greek god who was ''wild and untamed''.
''We actually call it a nudie run because its not in any way sexual. It's very silly and playful. It's humorous, actually. It's that idea of complete hilarious freedom that people don't have so often.''
She admits it is a bit of a surprise for audiences who, in general, are not used to being in direct eye contact with performers, who are smiling, in the nude.
''Its playful but not in a burlesque way. Then they are surprised at how humorous it is.''
When choreographing the work she did consider whether nudity was needed but decided it fitted the wilderness and freedom of the piece and she wanted to use it a positive, liberating way.
''I think the body is amazing and it is real celebration of how amazing the body is, the freedom it gives us.''
She admits she was quite nervous the first time the play was performed on a tour of New Zealand.
''Our work so far has been lovely and sweet - The Wine Project does have that element as well - I felt for me it was stepping out a bit more in terms of risk.''
While one or two people have objected, many more were quite interested in talking to the performers afterwards.
''I think it's all about the tone of something. The context of it.''
The group recently performed the work and Back of the Bus at the Edinburgh Fringe Festival where it got four and five-star reviews, was nominated for four awards and drew interest from venues in Australia and Brighton in the United Kingdom.
At a wine tasting after one performance people were still there three hours later chatting about the work.
''It goes a bit deeper than my other works.''
Java Dance Theatre also performs children's work and are bringing Dirt and Other Delicious Ingredients to the festival, as well.
''It celebrates the world and how delicious it is. We do things like dig a cello up from a massive pile of star anise and coffee beans. It's all about the magic that comes from the earth that is unexpected.''
When doing the research for a piece they often used it to produce both an adults' and a children's show.
She noticed how the cast became more playful during a children's performance, which enhanced the adult performance.
''It's great to make high-quality art totally made for kids, while the adult work is more sophisticated.''
They also received different feedback from children.
''I love kids as an audience, as they are so responsive and honest.''
The wine work was part of a series of works around foods, the first being bread and the next being Cheese for the children and the Creamery for the adults.
Copland is based in Wellington and admitted it was ''tough going'' running a small theatre company.
'It's really all about the highs and lows.''
After the positive response in Edinburgh she had come home ready to tackle the next project and funding proposal.
''I never get bored. You don't to it if you want to get rich but you can make a living. I love touring New Zealand but you need to do overseas seasons to balance the books.''
To see
The Wine Project, Athenaeum, October 5 -8Dirt and Other Delicious Ingredients, Athenaeum, October 5-8
