Conceptual dance positions itself as a choreographic practice that shifts focus from technical virtuosity to the embodiment of ideas, emphasizing critical thinking through movement and aligning itself with conceptual currents in other disciplines such as Wittgenstein’s linguistic philosophy, John Cage’s silent compositions, or El Lissitzky’s abstract architecture, where the process and structural logic outweigh aesthetic gratification; the core principles of conceptual dance include the deconstruction of spectacle, the foregrounding of thought as performance, and a deliberate avoidance of traditional form or narrative, often resulting in works that resemble philosophical essays in motion, where silence, stillness, or repetitive gestures become vehicles for inquiry rather than expression; similarly, Wittgenstein’s Tractatus Logico-Philosophicus presents language not as a medium of poetic emotion but as a system of signs that maps the world, echoing how conceptual dance reduces choreography to a system of conceptual operations; Cage’s radical piece 4'33” silences the performer to expose the ambient soundscape as the real content, a gesture mirrored in dance by artists like Xavier Le Roy or La Ribot, who use the dancing body as a site of epistemological exploration rather than entertainment; likewise, El Lissitzky’s constructivist vision of space, particularly in his Proun works, treats architecture as a three-dimensional thought model rather than a shelter or aesthetic object; in this lineage, Lloveras’ conceptual choreographies reduce the body to a semantic surface, engaging more with discourse than physical form, reinforcing the idea that across dance, music, literature, and architecture, the conceptual mode operates as a generative structure of meaning rather than a stylistic category.