, For a report on and an analysis of this project see I. Launay, Protée, vol.29, issue.2, pp.85-98, 2001.

, The research group of the dance department at the University of Paris VIII

A. Buffard-quoted-in and H. Marquié, Dispositif trouble: when what is said is not what is shown, p.239

, There is another interpretation of this performance: see R. Huesca, 'Homme, danse et homosexualité, pp.139-51, 2004.

, Reference is made here to the terminology introduced by Judith Butler. See in particular, Bodies That Matter. On the Discursive Limits of Sex, 1993.

, While Hitchcock goes into the investigative side of voyeurism, Sternberg produces the ultimate fetish, taking it to the point where the powerful look of the male protagonist (characteristic of traditional narrative film) is broken in favor of the image or in direct erotic rapport with the spectator. The beauty of the woman as object and the screen space coalesce; she is no longer the bearer of guilt but a perfect product, whose body, stylized and fragmented by close-ups, is the content of the film and the direct recipient of the spectator's look. Sternberg plays down the illusion of screen depth; his screen tends to be one-dimensional, as light and shade, lace, steam, foliage, net, streamers, etc., reduce the visual field, See L. Mulvey, 'Visual Pleasure and Narrative Cinema', Screen, vol.16, p.14, 1975.

, The French term analyse d'oeuvre has been kept because it echoes its equivalents in other artistic fields. In France one talks of analyse d'image, analyse de tableaux, analyse de film, analyse musicale, analyse littéraire, and these sub-disciplines constitute an important basis for every theory of literature

N. Goodman-;-m.-guérin and . Qu'est-ce-qu'une-oeuvre, The Languages of Art, Arles: Actes Sud, 1968.

G. Genette, For a reflection on the status of the work in dance see F. Pouillaude, Le désoeuvrement chorégraphique. Étude sur the notion d'oeuvre en danse, 2004.

P. Bayard, Enquête sur Hamlet. Le dialogue de sourds, pp.42-45, 2002.

E. S. See-for and . Manning, Introduction', in Ecstasy and the Demon: Feminism and Nationalism in the Dances of Mary Wigman, The Dances of Mary Wigman, pp.1-14, 1993.

S. M. Franko, Dance and the Political: States of Exception', in this volume, p.18

. Ibid,

, For a rather unique example of oeuvre analysis centered on performance analyses see C. Roquet, La scène amoureuse en danse. Codes, modes et normes de l'intercorporéité dans le duo chorégraphique, 2002.

M. Bernard, Suggested in some way in view of a reflection on the conditions of spectator's perception in dance. See also J. Perrin, De l'espace corporel à l'espace public, pp.205-218, 2001.

E. Bayard and H. Sur, , p.43

. Ibid,

M. Franko and &. , Être ensemble. Figures de la communauté en danse depuis le XXème siècle, 2003.

L. Roquet,

, The hypothesis of kinesthetic empathy (or of John Martin's metakinesis) or of gravitational contagion (Hubert Godard), which provides the basis of numerous ideas on the workings of the relationship between dance works and the audience, is being revived today, sustained by the growing interest in phenomena of perception and sensorial chiasms in the cognitive and neuro sciences

S. Perrin, De l'espace corporel à l'espace public, p.63

. See, L. Corbin, and . Miasme, L'odorat et l'imaginaire social, XVIIIème et XIXème siècles, Histoire des larmes, 1986.

, For an analysis of this issue see F. Pouillaude, Scène et contemporanéité', Rue Descartes, pp.8-20, 2004.

S. Perrin, De l'espace corporel à l'espace public, p.63