||This thesis examines the process of using Fitzmaurice Voicework (FV) in a choreographed dance. I hypothesized that using FV would generate a different choreographic process beyond habitual movement patterns, and investigated these questions: Through the breaking down of habitual technique patterns, can the destructuring and tremoring process of FV access what is beyond trained, familiar bodily patterns? Can destructuring and tremoring lead to new possibilities as a dancer and choreographer? And how is the effect of FV observable in other dancers‚Äô bodies? This thesis includes an explanation of my own investigative theory work with FV as well as a report of my choreographic research, creative process, and observations of the dancers. I observed different evolutions with FV between the dancers depending on their training backgrounds. I discovered that destructuring, tremoring, and restructuring in FV on its own did not generate choreographic movement successfully, but movement was generated form a combination of FV practice along with Passive Sequencing, and dance improvisation. I believe that adding FV regularly to the normal practice of dance technique can result in a different ad perhaps more available body and possibly lead to a deeper understanding in choreographing and performance.