The third chapter addresses the dimension of the body in the act of touch. Egert argues that the bodies of the dancers are not simply the pre-given actors of touch but that they are constantly reconfigured in the act of touch. By looking at two performances – Boris Charmatz’ herses (une lente introduction) and Xavier Le Roy’s low pieces – the chapter traces these bodily transformations through multiple scenes of collective touch. Central to this analysis is challenging the notion of form in relation to the body. The concept of touch proposes an approach based on “forms of bodying” (as process) rather than on “forms of the body” (as entity).