Since the classical modern era, the ephemeral has been regarded as a characteristic of dance. This raises the question of the presence of dance as an art form, which is tied to the embodied presence of bodies on stage. Within this tension, the study understands absence as the category that defines the critical and self-reflective potential of dance as an art and performance form. The book provides crucial impulses for dance studies in Germany and makes a significant contribution to an aesthetic theory of performance and theater. The four major chapters on important contemporary choreographers William Forsythe, Jérôme Bel, Xavier Le Roy, and Meg Stuart offer subtle interpretations of numerous productions that have not been presented in this way before. Oscillating between the analysis of works and philosophical reflection, a coherent narrative emerges.