Acknowledgement

Foremost, I would like to acknowledge my collaborating dancers Katerina Foti, Natasha Pandermali, Fumihiro Kikuchi, and Valerie Green. My research would have not been possible without their kind and generous dedication and support.

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I also would like to acknowledge my friends in Athens, Maro Delfini, Dimitris Patrikios, Xaris Vasiliadis, and Christos Massalas, who brought their own cameras to help film Locus; the filmmaker Lucas Chih Peng Kao, the cinematographer Kirstin McMahon, and the grips Doug Newton and Dylan Newton for the great work on Pen-Y-Pass; Javior Aparicio, Alfredo Miralles, and all the staff members at Universidad Carlos III Madrid who helped organise the workshop UnoChair; and the workshop participants Eduardo Suarez Suarez, Yeonji Gong, Usama Chaikh Elghoul, Gonzalo Esteve Feliz, Elena Gámez Cruz, Peter Gehlshoj, Paloma Maestre Valencia, Angel Seijo Vaquero, and Rocío Tejeda Carerizo.

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Thanks to Dance Cultural Centre DAN.C.CE Athens, Flux Factory, and KIN. Huddersfield for providing space for filming, and to P.A.R.T.S. Brussels for letting me access their library to study Anne Teresa De Keersmaeker’s choreographic scores.

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Thanks to the University of Huddersfield for offering me a research scholarship to initiate my research. Thanks to my supervisors Dr Julio d’Escrivan and Prof Monty Adkins, and my colleagues from CeReNeM. Special thanks to Dr Hilary Elliott from the drama department for her special supervision. Thanks to Tim Rutherford-Johnson for proofreading.

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Thanks to my friends Dr Pete Furniss, Dr Dane Lukic, and the composer Dimitrios Skyllas for your advice and encouragement. Thanks to my family and to Boris, who have been always next to me with their biggest and most patient support and love.