ABSTRACT
When the human body appears onstage, it usually forms part of a larger performance, work, play, choreography, dramaturgy, composition, or event. This is the case even when there is only one person performing. Although the same body is present all the time and drives the performance forward, the performance still has its dramaturgy, its choreography, its composition, of which that body is both a part and a medium. The fact that the body can take on these separate functions in itself supports the view expressed at the end of Part I about the dispersed nature of the performing body. But to what extent is the principle generalizable to all scenic existence and performance?
