Abstract: How is one to teach performance analysis in professional art schools and universities today? In the face of the multiplicity and complex hybridizations of current scenic forms, the article suggests that the analysis be based on the notion of artistic gesture, conducive to a discourse that is aware of the singularity of each performance. In three stations – before, within, around the creation –, the practice of analysis thus becomes a sensitive exercise, promoted to the level of an art of memory.
