Abstract
The article deals with José Gil's considerations on the relationships between the virtuality and the actuality of the dancing body. At first, it analyses Gil's idea of projecting the current position of the dancing body into virtual images and explores Gil's notion of the multiplicity of virtuality.
Further, it demonstrates how in the space of the body a consistent compound of movements is created at the level of the monstrous virtual body. Finally, the article emphasizes that, despite the connections between the actual position of the body and its virtual images, there is a fundamental distinction between the actuality and the virtuality of the dancing body.
It shows that the idea of the distinction between the virtual and the actual reflects Gil's concept of virtual memory as a zone of accumulated possibilities of movement.