This thesis will chart the process of discovering an improvised performance practice between two people. The practice uses tools from contact [and] improvisation practitioners with the use of square brackets as an editorial insertion. The [and] aims to open up space between the two terms as both separate entities and one together and through this research project we find a practice (in) the in-betweenness of two bodies. I draw from Deleuze and Guattari’s (1987) definition of philosopher Baruch Spinoza’s affectus theory that ‘l’affect is an ability to affect and be affected,’ as translated by Brian Massumi (1987, p. xvi). We began to perceive the resonance of affect (Massumi, 2002) through movement, proximity and touch and I reflect on how we begin to compose the work via both conscious and non-conscious forces in circulation. I introduce words and language to the practice and notice how that changes the work. Using a somatic-performative research approach, a multi-method led by somatic practice, we merge with the research, evolving, developing and being guided by its ‘driving force.’ We performed the work six times in front of audiences and a performance state emerged that allowed multiple relational landscapes to occur. I analyse the audience’s experience of the work, aiming to understand what keeps them invested.