A personal and intimate look behind the scenes of Meg Stuart's creative process over more than a decade.

A polyphonic approach to the emergence, since the 2000s, of new institutional forms dedicated to performative artistic practices.

Performance art with a “low artistic coefficient of visibility”.

How Thomas Ostermeier's productions explore the links between literature and theatrical art in order to question, through a complex realism that he reinvents, what the works have to say about the political and social reality of our present.

A retrospective in images of the activities of the Compagnie Pitoiset in ten theatrical creations, with a long analysis by Daniel Loayza.

The history of the CCN (Centre Chorégraphique National) – Ballet de Lorraine, the first National Choreographic Center in France: a look back over fifty years of history for a choreographic revolution, by Agnès Izrine and Laurent Goumarre.

Since 2016, choreographer Lenio Kaklea has been collecting the practices of Europeans. Taking to the streets and pathways of Athens, Aubervilliers, Essen, Guissény, Nyon, and Poitiers, she has gathered nearly 600 unique stories. This compilation testifies to the familiarity and diversity of habits, of rituals, and of trades that compose and distinguish these territories.

A collection of original essays focusing on the specific interaction of dance and drawing during the second half of the 20th century.

A collection of original essays focusing on the specific interaction of dance and drawing during the second half of the 20th century.

An overview of the relation between choreography and exhibition, through the contributions of over thirty international visual artists, choreographers, musicians, filmmakers, theorists, and curators (Kenneth Anger, Jérôme Bel, Boris Charmatz, Kenneth Goldsmith, Pierre Huyghe, Jennifer Lacey, Alan Licht, Malcolm McLaren, Gustav Metzger, Phill Niblock, Hans Ulrich Obrist, Michael Parsons, Claude Rutault, Catherine Wood...).

A collection of interviews and studies of performances that constitutes a crossing of the contemporary theatrical and choreographic landscape, re-examining the critical and theoretical tools that allow us to apprehend and think about current scenic forms.

Performance art with a “low artistic coefficient of visibility”.

Eleven years after the publication of the first volume of Feminine Futures in 2011, this sequel explores the dance history of abstraction in the feminine, during the first half of the 20th century and continuations today, unfolding new research perspectives with a new body of rare or unpublished original photographs.