Abstract
In dance, we are beginning to talk about dramaturgy from the end of the Nineties of the Twentieth Century, when Pina Bausch began to regularly make use of the collaboration of the dramaturg Raimund Hoghe. Unlike the theatrical tradition, within which the dramaturg has a role of mediator between stage and audience in the form of literary adviser of the director, the dramaturgy of dance inaugurates new processes closer to the post-dramatic theater and performance and influenced by postmodern dance studies. First, the essay investigates the effects and the feelings caused by the interaction between all the material involved in the composition of a danced performance and perceptive and cognitive ability of the spectators; secondly the essay explores the power relations that are established among the different actors of dance production (dancers, choreographers, curators, dramaturgs).