The literature on dance dramaturgy is still largely anecdotal, symbolic and contradictory. The subject of controversy and misunderstanding, often involving discrediting manoeuvres, this concept is, in fact, at the core of an extensive map of semantic, theoretical and poetic challenges.

We pose a few questions by way of example. When, why and as a result of what poetic events does the notion develop? Is there a dance dramaturgy within the choreographic activity itself that is not aware of being so? Is the relationship between dramaturgy and choreography one of continuity, complementarity or opposition? How is this dramaturgy recorded? How is dramaturgical creation adapted to the development phases of a choreographic project? Is it possible to teach or pass on knowledge and skills in the field of dance dramaturgy?