This thesis is based on the performer's artistic process within the contemporary dance habitus in the work on and performance of the play Hell by Dante Alighieri. The director Ivan Leo Lemo presented Hell as a staged narrative of the journey undertaken by Dante as the protagonist and narrator, and Vergil as his mentor and guide. Throughout the whole play the ensemble dominantly portrays the characters, creatures, apparitions and spatial manifestations by using their bodies and movement. Despite a fundamentally physical expression of the ensemble, the play is based on the approach to dramaturgy within a dramatic framework whose carrier is the text itself, i.e. speech. The aim of this thesis is finding a common denominator to approaching and working on the movement arising from both the actors’ and the dancer's discourse in order to achieve a harmony of expression between the contemporary dancer and her fellow actors within the ensemble. The comparison of these two perspectives reveals some common aspects of movement creation and realization, and recognizes the use of spoken dialogues as inherent to movement. The insight into the dramatic approach is based on the experience of working on performance courses of the Nonverbal Theatre study programme. The knowledge and integration of the notion of dramatic action stands out as the key factor with the application of Laban's movement analysis as the tool, with an emphasis on the field of effort.