The article intends to contribute to reconnecting the concept of biopolitics to the discourse on dance, both as a tool for the investigation of past eras and as a contribution to the analysis of practices in the present. After a brief survey of the concept, the article reviews some significant examples of dance theorists who have opened up this dialogue. The first two paragraphs lay the groundwork for the case study analysis of Luigi Manzotti’s trilogy consisting of Ballo Excelsior (1881), Amor (1886), Sport (1897), and its contemporary remediation by choreographer Salvo Lombardo.