watt is a review created in Paris in 2017, on the initiative of Charlotte Imbault, with the support of Fanny Lacour. Charlotte then joined forces with artists Myriam Lefkowitz, for issue #2, and after that with Jean-Baptiste Veyret-Logerias, for issue #3 and the ones to come. watt also receives the good care of Sandrine Fuchs and Marine Thévenet who contribute to its making. watt is a repository of words, exchanges between artists about what makes the stage work in the performing arts. It has thus chosen to be bilingual French-English to be able to report the largely transnational relations of the artists whom it calls upon. Speaking these two languages allows watt to travel around and be read in Germany, in Belgium, in Switzerland, in Quebec… If it has given room to the creation labs that dance has set, watt doesn’t aim at limiting itself to any kind of artistic discipline : its purpose is to point out how much hybridity, hybridisation in the performative forms strongly shows how dance and performance have fed for a long time from their strong connections to other forms of art: more visual-, more sound-oriented, or more experimental. watt tries to reach the questions that concern the work onstage in its most empirical, pragmatical, practical aspects, but also sometimes in its most sociological or political aspects when the forms invite the audience members in more-than-esthetical experiences. In the end, watt barely takes a critical look on these forms, and, if criticism shows, it rather consists in an invitation to step aside, to look deeper into what makes an artistic gesture, to explore its different facets, to try to define its contours from inside the practice, less to grasp 'why this gesture?' than to probe the desires that lie within it.