The article analyses videodance language questioning on the proper methodologies to adopt in order to
support an interdisciplinary theoretical research on this performative practice. According to that, it explores
the concept of “choreographic object” (William Forsythe, 2008) as an approach to investigate from a
choreological perspective videodance works meant as highly sensorial art form. Indeed, talking about
videodance means to investigate a hybrid practice (Kappenberg, 2015) established on the poetic
counterpoint between two forms of movement expression: on the one hand, the cinematographic poetic; and
on the other, the choreographic thinking. In these terms, the essay draws the attention on what
choreography is or might be in a videodance performance, and why it is important to analyse the plural
authoriality on which this artistic practice is based.
