The etymology of choreography tells us that the word, at its most literal, means something like “writing dance” or “dance writing.” Of course, the relation between inscription and dance is now so familiar that while we have come to recognize its mutability and variations (Judson Dance Theater’s testing of the limits of choreography, for instance, so different from, say, classical ballet’s stringent adherence to them), we don’t often enough consider just to whom this “writing” is ultimately addressed. Indeed, if dance is de facto an embodied form, it is also nearly always directed (at least in