This article aims to take part in the ongoing discussion on the social and political potentialities as well as the conceptual premises of choreography and to contribute to the discussion about world relations in the choreographed movement. The much-used definition of Western choreography is “organized movement in space and time”. Although this definition always applies, it does not specify the world relations and worldmaking capacities of the choreographed movement. The main focus of this article is an ontological rethinking of the basic concepts of choreography: movement, space, time and organization, with the addition of kinaesthetic fields, kinaesthetic and spatial intelligence, virtual and actual realms, striated and smooth spaces (Deleuze and Guattari) and different conceptions of time. By analyzing these concepts, the aim is to provide a view of ontologically elementary units in choreography (such as a change in space, the difference over time and space, and passage to shared actuality), with a wider understanding of the inherent social relationality in choreographed movement. After discussing these topics, a few social choreography events and protests are described to represent different choreographic aims and organizational modes arising from each specific situation. The article concludes by proposing that choreography could be seen as organizing movement in space and time but also as a choreographic actualization of intensities in different discursive fields.

中文翻译：

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重新思考编排的概念参数（在社会空间中）——话语领域强度的实现

本文旨在参与正在进行的关于社会和政治潜力以及编舞概念前提的讨论，并为编舞运动中的世界关系的讨论做出贡献。西方编舞的常用定义是“在空间和时间上有组织的运动”。尽管这个定义始终适用，但它并没有具体说明精心设计的运动的世界关系和世界创造能力。本文的主要焦点是对编舞基本概念的本体论重新思考：运动、空间、时间和组织，并添加动觉场、动觉和空间智能、虚拟和实际领域、条纹和平滑空间（德勒兹和瓜塔里） ）和不同的时间概念。通过分析这些概念，目的是提供编舞中本体论基本单元的视图（例如空间的变化、时间和空间的差异以及通向共享现实的通道），从而更广泛地理解舞蹈中固有的社会关系。精心设计的动作。在讨论这些主题之后，描述了一些社会编舞事件和抗议，以代表每种特定情况下产生的不同编舞目标和组织模式。文章最后提出，编舞可以被视为在空间和时间上组织运动，但也可以被视为不同话语领域强度的编舞实现。