This study aims to examine the aesthetic characteristics of body imagery in contemporary ballet through an analysis of Alexander Ekman’s “Play,” focusing on Gilles Deleuze’s concept of the Body without Organs (BwO). Through a literature review of Deleuze’s concept of the body and theory of art, five characteristics of body imagery were derived: disarticulation, expansion, decentering, body transformation, and body abstraction. These categories were grounded in Deleuze’s concepts of articulation, becoming, multiplicity, affect, and the virtual. Applying this analytical framework, the study found that, while grounded in traditional ballet technique, “Play” embodies these characteristics through the segmentation and reconstruction of the body, the displacement of the bodily center, and the body’s integration with space and objects. This study is significant in offering a theoretical basis for discussing the identity of contemporary ballet by interpreting body image in Ekman's Play from Deleuze's philosophical perspective.

Based on the concept of "différence" proposed by Deleuze, the purpose of this study is to explore the philosophy of ‘creation and extinction’ in Korean creative dance through an analysis of Cha Soo jung's piece 淸, Open the Blue Sea(2021). Applying Deleuze’s notion of différence to this piece, the sea in 淸, Open the Blue Sea is not the place of death, but of life, and courage for life. Consequently, this study discovers the potential of expanded interpretation of dance as a space for humanities and thoughts by examining its association with the concept of différence, which re-generates the true meaning of life through death. Further, it is essential to examine the possibilities of expression within Korean creative dance by analyzing how dance art elements are connected in the work 淸, Open the Blue Sea to symbolize the place of Cheong's death and the sea through a reinterpretation of Korean classical literature.