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Composer en danse – Un vocabulaire des opérations et des pratiques
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The Essential Jill Johnston Reader
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Lamb at the Altar: The Story of a Dance
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Danser, une histoire – 100 ans de danse en Belgique
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Competing chroreographies – 10 years of the Keir choreographic award
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Francine Lancelot – Danse populaire, danse savante, musique baroque – Des écritures de la danse
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À la rencontre de la danse contemporaine, porosités et résistances
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Danse & voix – Hiatus et parentés
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Through the Eyes of a Dancer – Selected Writings
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Carnet de salles – Écrits pour la danse
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Ma danse, tout un art !
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Danser pop – Une figure de la création contemporaine
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A Contrario ou la danse contrariée – vol.2
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A Choreographer’s Score – Fase, Rosas dansat Rosas, Elena’s Aria, Bartók
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Qu’est-ce qu’un chorégraphe ?
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Reflections on improvisation, choreography and risk-taking in advanced capitalism
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The Grand Union – Accidental Anarchists of Downtown Dance, 1970-1976
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Danse contemporaine – le guide
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Composer en danse
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Pensée en acte – Vingt propositions pour la recherche-création
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William Forsythe – The Fact of Matter
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Choreografische Praxis – Vermittlung in Tanzkunst und Kultureller Bildung
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The Choreographic
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Choreographing Discourses – A Mark Franko Reader
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Cultures de l’oubli et citation – Les danses d’après, II
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Carnets d’une chorégraphe: Fase, Rosas danst Rosas, Elena’s Aria, Bartók
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Dance: Documents of Contemporary Art
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Ex-corpo
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Donc Danse Dense ! 30 ans d’histoire de la plus jeune danse
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Danses Jazz: une poétique de la relation
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Danser contemporain – Gestes croisés d’Afrique et d’Asie du sud
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Danse et pensée – Une autre scène pour la danse
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Danse contemporaine – le guide
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Danse, art et modernité – Au mépris des usages
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Chorégraphies, l’art d’écrire avec le corps
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Articuler danse et poème – Enjeux contemporains
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Anne Teresa de Keersmaeker : Rosas 2007-2017
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Relâche – Dernier coup d’éclat des Ballets suédois
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Quand le discours se fait geste
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Picasso et les ballets russes – Entre Italie et Espagne
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