Many choreographers - esp. in Europe, as far as I can see - also employ improvisation techniques to arrive at their finished choreographies.
"Improvisation techniques", that's kind of an interesting one. I guess if I think about it awhile it will make sense. I do like the idea of improvisation and the dancer expressing her/his own particular capabilities and background. I guess George Balanchine was known for being aware of and working with his dancers' individual abiliities. Christopher Wheeldon has expressed his interest in letting his dancers create their own stage identity.
Thanks for telling us more about the demand for modern capabilities in Europe.
For what its worth, I noticed some changes at the Lausanne competition. It's been maybe four years since I saw my last one. Several years ago there were three programs required--classical, modern and a free choice.
The free choice program has now been eliminated and the modern, this year anyway, is all from the works of John Neumeire, who someone on the internet described as a "neoclassicist".
The now eliminated free choice program was very interesting to me. It was usually a modern selection, sometimes created by a choreographer from where the dancer came. It was about the only chance for a dancer to make a personal statement and also one from her/his own culture. I thought it was a good idea. I thought that the last program that I saw with this was very interesting and very enjoyable.
This year, on the other hand, without the free choice program and with a 'neoclassical' replacing a 'modern' choice, the classical dancing seemed better. I'm not sure if this new format changed the nature of the selection process* or if there are any correlations here, but it is interesting to think about.
*selection of dance candidates