In this chapter, I would like to account for a distinctive kind of thought, born in and through European dance since the mid-1990s, which has thoroughly transformed choreography and performance by reinventing performed relations between the body, movement, and time under the theme of ‘problems’. 1 The practice of this thought is rooted in the problematization of specific concerns within contemporary theater dance, such as the body-movement bind with respect to expression and form, improvization and processuality, or spectatorship. Most importantly and in a nutshell, its forte lies in introducing a method of creation by way of problem-posing, which merits philosophical attention.