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Abstract
This essay explores various strategies of disfiguration and the art of disappearing in the dance and notes of Kō Murobushi - a dancer who seemed to remain constantly sceptical and hostile against all paradigms of representation. One striking recurrence in his writing is a nameless Outside, described as a midnight, a moment of darkness that seems to be his matrix of disfiguration and de-subjectification. The essay explores his soma-aesthetic edgework that tests the limits of an ordered reality. Affirmed by a sensation of eternity he aimed to become a useless body in a production oriented world. Such a process invokes the impossible: becoming Other, becoming animal, becoming inorganic, becoming his own double, becoming headless. How much disfiguration is needed in order to truly dance?