According to Shusterman with the notion of somaesthetics he wants to remind the contemporary readers that "philosophy could and should be practiced with one's body rather than being confined to "the life of the mind" (Shusterman 2012, 141.)" Consequently a philosophy can be expressible by one's body especially by a dancer's body or by a choreographer's work. I consider it to be a problem that a performance is not only the artwork of a creator but also the embodiment of the choreographer's philosophy. Not every dance choreographer has his own philosophy but those who have a characteristic "universe" and a peculiar style. I am going to reveal Pál Frenák's dance philosophy of somatic style while searching for that "existential weight" behind his works that is a crucial element in his artistic universe. How is it possible to approach a philosophy emotionally? Where is the limit between sense and sensibility in the reception of a dance performance? Instead of the analysis of concrete meanings of movements in one piece of art, dance philosophy should examine those processes that lead to a certain set of emotions and associations. I feel that conversation on contemporary dance would be a relevant topic in relation to somaesthetics. In my paper, I would like to attune somaesthetics and the Deleuzian sign theory to show the spiritual richness of the oeuvre of Pál Frenák.