This study aims to propose grounds for identifying the meaning of a temporality and momentary movement as well as the subversion of a negative bodily trait through the ideology of Gilles Deleuze, and to discover the probability of accepting them in the discussion of dance aesthetics.
The acceptance of the ideology of Deleuze in the discussion of dance aesthetics implies that art, philosophy, and science are poised in equivalent positions within his ideology. Also, the subversion of Platonism, Spinoza’s immanence, and Nietzsche’s univocity all of which form a main axis of the philosophy of Deleuze, may be an important topic also in the aesthetic discussion of dance.
The study pursued a discussion focusing on the concept of ‘Body without Organs’ by Deleuze, shown in the work of Pina Bausch. Deleuze’s ‘Body without Organs’ stemmed from Artaud, a famous playwright of the theater of cruelty. Pina Bausch also expressed the theater of cruelty of Artaud in his works; thus, they are mutually related. Moreover, both Deleuze and Pina Bausch share the same background of times, namely, post-modernism, and they have in common compositions and choreographic characteristics.
Preceding studies that have discussed dancing art by applying the ideology of Deleuze haven’t been actively pursued relative to other art areas. Furthermore, the dance area also has merely introduced the theory of Deleuze, or has made a superficial initial application of the theory. However, this study is meaningful as it revealed the correlation between the ideology of Deleuze and dance art, selectively introduced his concept acceptable to dancing aesthetics, and advanced discussions in terms of the choreographic process and composition of dancing works, and expression of movements based on the research results.