This study aims to critically approach the immersive element in William Forsythe's Heterotopia.. The research method uses a variety of data, including a direct viewing of the performance and criticism presentations, to overcome the limitations of literature research. The research discusses how Richard Schechner's environmental concept influenced early immersive performances in the postmodern period, while highlighting how Jacques Ranciere's concept of eliminating differences between the stage and the auditorium contributed to the full-scale spread and development of immersive performances. Based on this, space dismantling and installation, sound installation, movement away from traditional techniques, and active and subjective gaze of the audience are discussed as immersive elements in William Forsythe's Heterotopia. This study will provide important analytical data to the dance scene of Korea, where the production of dance works utilizing immersive elements has been increasing recently.

Marion Meyer’s Pina Bausch: Tanz kann fast alles sein resonates deeply from its title alone. “Unending gesture” implies that while Bausch is no longer with us, her artistic spirit lives on and continues to inspire future generations. Written by journalist Marion Meyer and translated by Joonseo Lee, the book is divided into nineteen chapters that chronologically follow Bausch’s artistic journey. It highlights not only her most renowned works but also lesser-known pieces, offering insight into their creative processes and behind-the-scenes stories. Photos from rehearsals and performances, as well as images with fellow artists, enrich the narrative. The book unfolds from three key perspectives: Bausch’s childhood and student life in New York; her creative work in Wuppertal and abroad; and the continuation of her legacy after her death. It also includes interviews with Bausch and her dancers, who speak of her not just as a director but as a companion in artistic exploration. These testimonies reveal how her presence lived vividly in the people she worked with. Ultimately, Pina Bausch: Tanz kann fast alles sein is not just a biography, but a testament to how Pina Bausch’s art continues to move within the bodies and memories of those she touched.

This study analyzes William Forside’s Synchronous Objects for One Flat Thing, Reproduced from a geometric perspective. This dance is a digital work presented through an online platform, which combines various fields to produce 20 objects. The work uses geometric forms to express dancers’ movements and spatial interactions in various ways. In our study, the interaction and fusion of art and geometry are explored by analyzing the dancers’ movements by means of geometric shapes such as points, lines, and planes. It analyzes how various patterns and structures are formed in space when dancers pass each other or make synchronized movements. Therefore, this study contributes to geometrically analyzing and understanding the dancers’ movements and their uses of stage space by combining dance and geometry.