That the dance evolves in an aimless and unorientated space, that it is a suspension of our history, that in the dance the subject and his world are no longer in opposition, no longer stand out one against the background of the other, that in consequence the parts of the body are no longer thrown into relief as in natural experience: the trunk is no longer the ground from which movements arise and to which they sink back once performed; it now governs the dance and the movements of the limbs are its auxiliaries.