This thesis aims to circumscribe the concept of jouissance, from its varied presentations, as introduced by Jacques Lacan, in his teaching. We will emphasize the way in which Lacan opposes, to phallic jouissance, another jouissance, sometimes treated as Other jouissance, supplementary, feminine, opaque jouissance, among other nominations. We will assume its nomination as pastout in a privileged way in this Lacanian theorization about jouissance. Given these premises, our investigation will have as its central hypothesis the possibility that this jouissance is sustained without reference to the phallic register – a less common approach, but still present in Lacan s teaching. This jouissance, we will say, can present itself, even if it cannot be understood by knowledge. In order to approach, therefore, a possible presentation of this Other jouissance, we will resort to the artistic methods of Pina Bausch and Hijikata Tatsumi – artists from the field of dance –, especially their ways of dealing with the articulation between body and speech. When it comes to this corporeality for a jouissance that dispenses with the phallus, the theme of writing is present, whether in Lacan s teaching or in the reading of his commentators. As an additional hypothesis, we will assume that the gestures, both in Pina s performances and in Hijikata s creations, translate a materiality outside of the meaning register. We will propose to approximate this operation to a type of writing, a writing of jouissance, in the sense that Éric Laurent gives it, reading Lacan, when working on the difference between typographic and calligraphic writing. This type of writing will help us to think about a possible stabilization of the body, other than the ideal form, the mirror or even a phallic body.