The main aim of this paper is a reflection about the body and movement statute in arts from the French philosopher Gilles Deleuze's sensation concept. This purpose is going to arise from the singular encounter of works of a painter/drawer and one of the most emblematic classical ballet dancers ever. The body's movement while someone is dancing is much more than just form, representation or mechanics. On the contrary, its particular delicacy affects us greatly. This condition will be taken as a conducting wire of our reflection, considering the different sensations and expressions it can evoke. The sensations of a dancing body can be expressed in drawing as well as in dancing. What relations could there be between these different ways of expressing for a ballet dancer's body? What singular events could emerge from this particular encounter? Rather than form, there are vigor lines and expression, corporal vibration, torrents of affection and perception constituting sensations expressed in different artistic ways.
body; dancing; drawing; sensation; affection
