Ejercicios de ocupaciónis the fifth title of Cuerpo de Letra collection, a series of studies focused on dance and contemporary thinking.

Ejercicios de ocupación is the fifth title of Cuerpo de Letra collection, a series of studies focused on dance and contemporary thinking. In addition to recovering two texts by authors who have been key in the development of discourse on affects during the last decades (Brian Massumi and Eve Kosofsky Sedgwick), the book collects a series of new texts specifically written for this volume from the theory and theartistic practice.

“Exhausting Dance. Performance and the Politics of Movement” examines the work of fundamental contemporary choreographers who have transformed the dance scene since the early 1990s in Europe and the United States. Through a lively and explicit dialogue with performance art, the visual arts and critical theory over the past thirty years, this new generation of choreographers challenges our understanding of dance by means of exhausting the concept of movement. The works should be understood as performances of implicit radical politics in performance art, post-structuralist theory and critical radical studies.

The second book in the “Body Text” Collection compiles seven essays revolving around the view, from the composition and the views of the spectator today, essays that analyse how both views construct diverse architectures of the ephemeral.

This book compiles twelve essays that reflect fundamental aspects on the ways in which we approach the relationship with the past, memory, contemporaneity, corporal re-identification, the processes of reconstruction, the concept of envelopment, the passage of time, the ephemeral nature of the stage, archives and documentation.

Faced with the critical discourse that appears to have reduced narration to an element removed from the spirit of dance, “Antistories” attempts to rehabilitate the story, presents the whys and the wherefores of an infinite history of intersections, convergences and complications between the malice’s of narration and the malice’s of dance. It does so by identifying the evidence of a dance secretly inscribed in the unexpected events of the story (from its original form, the myth, to its latest derivations, in the post-modern novel) and it does so through dialogue with different protocols of thinking and doing, from figurative art to 20th Century philosophy, from physics to biology.