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date: 13 November 2019

Abstract and Keywords

This chapter accounts for a distinctive kind of thought, born in and through European dance since the mid-1990s, which has thoroughly transformed choreography and performance by reinventing performed relations between the body, movement, and time under the theme of “problems.” The practice of this thought is rooted in the problematization of specific concerns within contemporary theater dance, such as the body-movement bind with respect to expression and form, improvisation and processuality, or spectatorship. Most important, its forte lies in introducing a method of creation by way of problem-posing, which merits philosophical attention. Choreographing problems involves composing ruptures between movement, the body and duration in performance such that they engender a shock upon sensibility, one that inhibits recognition. Thus problems “force” thinking as an exercise of the limits of sensibility that can be accounted for not by representation, but by the principle of expression that Gilles Deleuze develops from Spinoza’s philosophy.

Keywords: choreography, body-movement bind, expression, objectivation, choreographic idea, critique of theatrical representation

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