An attempt at comparing the Pina Bausch Tanztheater Wuppertal with the works of Tadeusz Kantor from the period of the Theatre of Death, examined from the vantage point of work with the actor, direction methods, the structure of the spectacle, and the rejection of the categories of time and plot. The central theme, however, is the actor, who by rejecting verbal expression communicates with the spectators primarily by resorting to his body and physical presence. The actors' body articulates assorted emotions by means of controlled tension. Similar techniques of the 'use' of the body are discernible in Chaplin's silent movies and modern dance from the early twentieth century. The corporal form of expression appears to be quite natural for theatrical dance, and in this case - for the Pina Bausch Tanztheater, but such an interpretation of the problem within the context of Kantor's work appears to be a new and tempting research aspect.