3 © The Editor(s) (if applicable) and The Author(s) 2016 E. Katan, Embodied Philosophy in Dance, DOI 10.1057/978-1-137-60186-5_1 CHAPTER 1 1 DANCE In the middle of the dance, one dancer steps into the center of the stage and gets undressed. A female dancer lies with her back on the loor beneath him, and observes her hands. She wears an outit resembling the one he wore a moment before: lusterless, pastel, and pale overalls with long sleeves. Her exposed body parts are dyed with grayish powder. His naked body is covered with the same pigment. Seven dancers are sitting among the audience and looking at the two dancers in the middle. Their outits are similar, yet distinguished from one another by small nuances and tones. In the moment described, the woman stays still; but before the man joined her in the center, she had moved there alone. In her solo, she looked as if she were unsuccessfully trying to hold on to the last forces of movement and life. She slowly folded her body on the loor, pushing it, and collapsing again. When she was shoving her body away from the ground, she gained, for a short while, a loating state in her lesh, but then again these momentary somatic lifts disappeared into breakdowns. In her movements, it seemed as if traces of living forces began to stir inside her. Then she stood up while the living vibrations she had acquired were still moving within her body. As she was slowly vibrating, her arms were lung into the air in repetitive, sharp explosions. While doing so, her ingers became thick and folded, as if she were trying, repeatedly, to reach something beyond her scope. Then her hands, limbs, and face became Dance and Philosophy: Phrasing an Entrance