Translation of: Le désœuvrement chorégraphique.

Includes bibliographical references and index.

Machine generated contents note: -- Preface to the English edition -- Translator's Preface -- Introduction and acknowledgements -- PART 1: PHILOSOPHY OF DANCE AND THE ABSENTING OF WORKS -- Chapter 1: On Transcendental Absenting -- Chapter 2: A Time with No Outside (Valéry and Jouissance) -- Chapter 3: A Space with No Place (Straus and Ecstasy) -- Chapter 4: The Absence of the Work: Presence, Expenditure, Auto-affection -- PART 2: THE WORK (1): THE STAGE AND SIGNIFICATION -- Chapter 1: Mallarmé: Deciphering the Stage -- Chapter 2: Spectacle, Ritual, Divertissement (Genesis and Structure of the -- Choreographic Stage, I) -- Chapter 3: Presence, Ideality, Signification (Genesis and Structure of the -- Choreographic Stage, II) -- Chapter 4: Artaud: Presence and Ritual -- PART 3: THE WORK (2): IMMANENCE AND IDEALITY -- Chapter 1: Writing That Says Nothing -- Chapter 2: Identity: Two Regimes -- Chapter 3: Oral Identities: Passing Dance on, Making Versions -- Chapter 4: The Supporting Trace: Images and Scores -- PART 4: A TECHNIQUE WITH NO OBJECT -- Chapter 1: What is a Dance Technique? -- Chapter 2: Technique or Language: An Analogical Impasse -- Chapter 3: Lack of Tools as Loss of Memory -- Chapter 4: Intending the Unintentional, Repeating the Unrepeatable -- Conclusion (1): Reflect and Repeat -- Section 1: Stage and Contemporaneity -- Section 2: The Reflexive Labour of Performance -- Section 3: The Memorial Labour of the Work -- Conclusion (2): Gesture and Trace -- Appendix of illustrations -- Bibliography and References.

"There is no archive or museum of human movement, no place where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dance refers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. Unworking Choreography develops this idea and postulates an unworking as evidenced by a conspicuous absence of references to actual choreographic works within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works given a lack of scores and an apparent resistance within the art form to the possibility of notation; and the questioning of ends of dance in contemporary practice and the relativisation of the very idea that dance artistic or choreographic processes aim at work production."-- Provided by publisher.

"Unworking Choreography considers the construct of dance as space versus art and postulates an unworking. This is evidenced by a conspicuous absence of references to actual choreographic works within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works given a lack of scores and an apparent resistance within the art form to the possibility of notation; and the questioning of ends of dance in contemporary practice and the relativisation of the very idea that dance artistic or choreographic processes aim at work production"-- Provided by publisher.

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