Abstract
Abstract The article scrutinizes the recent phenomenon of an increased involvement of things into contemporary choreographies and thematizes the relation between human and nonhuman performers. It traces a shift from semantic investigations of objects in the 1990s to agential realist approaches since about 2008. By referring to Bruno Latour's conception of things as actants and by introducing basic notions of actor-networktheory, the essay proposes a posthumanist understanding of performativity (as outlined by Karen Barad) and ponders about the ethical, political and ecological implications of posthumanist choreographies/dance.
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