ABSTRACT
As my first attempt to deal with dance and figuration, this essay was written well before Chapter 6 and my engagement with Forsythe’s work. Gabriele Brandstetter’s discussion of Forsythe’s work as “defigurative” and her way of bring defiguration back to Duchamp’s delay (see Chapter 9) was most helpful here in my attempt to justify the importance of the whole complex of ideas around figuration as relevant to dance theory today. Crucial to this is Lyotard’s definition of figurability and the attention given this concept in post-structuralist aesthetics.
