This paper examines the divergent approaches to the movement research of two distinguished choreographers: Ohad Naharin and Tao Ye. Naharin developed Gaga Language in the 1990s, emphasizing the imaginative and sensational aspects of dance through imagery-based improvisation. In contrast, Tao Ye evolved his Circular Movement Technique around 2010, focusing on rational analysis of the body's physicality to explore the curvature of movements in relation to momentum and gravity. Despite their differing cultural backgrounds, both methodologies offer intriguing insights into the human body's potential. By analyzing their historical, methodological, and aesthetic perspectives, this paper aims to deconstruct the seeming dichotomy between various aspects of Gaga and Circular Movement Technique, interpreting and embracing the validity of both approaches. Between the sensual experience of Gaga and the rational examination of the Circular Movement Technique, the human body can experience both a zealous joy of the flesh and a transcendental totality from the coolness of the mind.