The intelligibility of a performance of improvised dance does not reside in the rehearsed execution of a pre-existing script, nor does it result from a sustained verbal interaction between the dancers. Many aspects of the speechless performance obviously play an important role in the achieved intelligibility of the dance: a dancer is seen moving on and from a ground, on a stage, in a space delimited by walls, illuminated by spotlights, sounded by music, in front of an audience. And of course with other dancers, whose joint gestures and moves give shape to a choreography by providing pace, rhythm and sequences, thereby constituting a narrative or fragments thereof. This paper addresses the manufacture of this witnessable order, by presenting some results of an ethnographic inquiry. The investigation will be focused on how, in an improvised duet, each dancer interacts with the other, and more specifically how she or he positions her- or himself in relation to the other, from distance to proximity and touch. This work of distance management is the dance, whose choreographic accountability is produced and structured by dancers staying at a distance, getting closer and touching each other. The analysis shows that distance management is oriented to as relevant by the dancers and that it has consequences on their improvised duet. It is also what makes their performance analyzable by distant observers.

即兴舞蹈表演的可理解性并不在于对预先存在的脚本进行排练，也不在于舞者之间持续的言语互动。无言表演的许多方面显然在舞蹈的清晰度方面发挥着重要作用：可以看到舞者在地面上、在舞台上、在由墙壁界定的空间中、在聚光灯照明下、在音乐声中、在在观众面前。当然还有其他舞者，他们的联合姿势和动作通过提供节奏、节奏和序列来塑造编舞，从而构成叙事或其片段。本文通过提出人种学调查的一些结果来讨论这种可见证的秩序的制造。调查将集中在即兴二重唱中如何 每个舞者都与对方互动，更具体地说，她或他如何定位自己与对方的关系，从距离到接近和触摸。这项距离管理的工作就是舞蹈，其编排责任是由舞者保持距离、靠近并相互接触来产生和构建的。分析表明，距离管理与舞者相关，并且对他们的即兴二重唱产生影响。这也使得远处的观察者可以分析他们的表现。其编舞责任是由舞者保持距离、靠近并相互接触而产生和构建的。分析表明，距离管理与舞者相关，并且对他们的即兴二重唱产生影响。这也使得远处的观察者可以分析他们的表现。其编舞责任是由舞者保持距离、靠近并相互接触而产生和构建的。分析表明，距离管理与舞者相关，并且对他们的即兴二重唱产生影响。这也使得远处的观察者可以分析他们的表现。