Swedish choreographer, curator, writer, and performer Mårten Spångberg’s four-hour-plus piece raises issues around the intricate relationships between choreography, dance, affect, objects, critical theory, pop culture, and visual arts.

The choreographic element in Jacques Rancière's notion of “police” is used to advance the concept of “choreopolice,” which can then be set in opposition to “choreopolitics” to redefine “choreography” and release it from imperative, or normative (i.e., policed) constructions of movement. Hannah Arendt's notion that freedom is the telos of politics identifies how within several types of choreography (TURF street dance, Tania Bruguera's Arte de Conducta , and Sarah Michelson's Devotion Study #1 — The American Dancer ), the dancer's task is to search and enact that freedom, over and over again.

The final installment of a continuing series on choreography considering the mutual interrogation of philosophy and dance, the articles propose a tentative ethics of dance as a “practical philosophy” under the influence of Gilles Deleuze read through specific choreographic practices. Gerald Siegmund describes his private experience of Boris Charmatz's choreographic machine as a metaphor for the entrapment of theatre and as generative of new bodily subjectivities. Introducing anthropological applications of cognitive science to the particular strategies of choreographers working in Brazil, Christine Greiner argues for a political conception of self through dance. Examining the kinetics of the face in RoseAnne Spradlin's Survive Cycle , Victoria Anderson Davies meditates on the relationship of facial expression to language, to consciousness, and to movement.

This second installment of TDR 's continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scÈne , which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldman's considerations of how improvisation offers “escape routes”—for and from dance, theory, and time.

The articles in this first installment of a series on choreography that considers the relationship between philosophy and dance interrogate conceptions of the body, movement, and language. Translated for the first time into English, the selection by José Gil reads the dancing body as paradoxical through the writings of Gilles Deleuze and Félix Guattari; and the chapter by Peter Sloterdijk examines modernity's impulse toward movement and posits a critical theory of mobilization. An interview with choreographer Hooman Sharifi accompanies a meditation on his recent performance.

Witnessed in the scholarly lectures of the Atlas Group's The Loudest Muttering Is Over: Case Studies from the Atlas Group Archive , performed by Walid Raad, images become part of a larger political dramaturgy of history as pedagogy that simultaneously produces memory, language, and the authoritative historian's voice, through a misfiling of crucial information—further blurring the lines between reality and fiction.

Co-winner, 1998 TDR student essay contest. Today's European choreographyis a “reduction” of expansiveness, the spectacular, the unessential. Along withthis minimalism has come much nakedness onstage. This showing of the bodyreveals the power of the surface, the “skin of our time: open, marked, rented”.