ABSTRACT
This chapter views the particularly timely choreopolitical acts that go beyond a mere aesthetic play with visual perception, but that indeed open up, through darkness, and build, as darkness, a much needed space of potentiality for the times of constrained choices. It discusses the work of Marcelo Evelin and the political, historical, and aesthetic relations between darkness and blackness and as it introduce Fred Moten's notion of blackness as fugitive thing. It concentrates on four works that, in different ways, underscore darkness singularity as a choreopolitical force, and that affirm and activate darkness as a singular substance for experimenting with, and imagining how and live beyond the constraints of the merely possible. In order to leave no doubt of the scope and intent of her critique, Edvardsen linguistically amplifies this total darkness by telling us how the sense of the dissipation of orientation is isomorphic to the dissipation of all sorts of photological illusions produced by theatrical performance.
