This study aims to examine the aesthetic characteristics of body imagery in contemporary ballet through an analysis of Alexander Ekman’s “Play,” focusing on Gilles Deleuze’s concept of the Body without Organs (BwO). Through a literature review of Deleuze’s concept of the body and theory of art, five characteristics of body imagery were derived: disarticulation, expansion, decentering, body transformation, and body abstraction. These categories were grounded in Deleuze’s concepts of articulation, becoming, multiplicity, affect, and the virtual. Applying this analytical framework, the study found that, while grounded in traditional ballet technique, “Play” embodies these characteristics through the segmentation and reconstruction of the body, the displacement of the bodily center, and the body’s integration with space and objects. This study is significant in offering a theoretical basis for discussing the identity of contemporary ballet by interpreting body image in Ekman's Play from Deleuze's philosophical perspective.

This study aims to explore the life and art of Alexander Ekman, examining and critically analyzing the artistic characteristics of Ekman's reinterpretation of the classical work Swan Lake. The research discusses the multidisciplinary artistic elements present in this work from a critical perspective. For this purpose, the study utilized domestic and international video materials, reviews, and resources from Ekman's official website.The findings are as follows: First, from a choreographic perspective, Ekman structures the entire piece around the directorial element of 'situation,' integrating movements from ballet, tap dance, and musical theatre with theatrical elements to intuitively shape the performance. Second, he separates or deconstructs Tchaikovsky's original score while incorporating voice as an additional sound element and using the element of 'water' both visually and aurally. Third, Ekman employs dialogue from theatre to enhance dramatic situations and stage transitions, merging these with movement to expand the scope of his direction through the everyday nature of theatre. Fourth, he maximizes the effect of objects, stage sets, and installations to incorporate the mise-en-scene effect into the work.This study seeks to serve as a foundation for understanding the multidisciplinary and artistic innovations in Alexander Ekman's reinterpretation of Swan Lake.