The perspective of this thesis on modern poetry is to probe the dancing movement of the text and to identify semiotic criteria to account for theoretical implications of an apparently more surprising metaphor than that of "literary musicality". Since the three authors can not be assessed solely on the literary plane since they collaborated with choreographers, or were even practioners of the art of dancer-choreographer, the historical perspective is used, in order to understand the common character of their relationship with modern dance. It is ultimately the election of dance as an art-source for writing, which unites the three writers. Absorbing the lessons of choreographic modernity, poetic writing enriches the structures of language with a corporeal and gestural quality. Similarly, the mode of poetic composition becomes close to dance, arranging the componentents of sentence and line, as if they were kinemes. Beyond the dissemination of choreographic currents, the contemporary is conceived in the thesis as a continuation of the modern. In poetry, dance achieves a synthesis of the other arts and the real, and displays the program of poetics to which the writer aspires. The second part of the thesis focuses on the modes of presence of dance through the poetic text considered as a polysemiotic object. The achievements of modern dance are literarily remodeled and transferred to the poem. The poet, having witnessed the dance pieces, seeks to recreate what he has seen, including his transformative viewer perception. In the examination of the intersemiotic transfer, we take as tools the notions of "figure" and "ekfrasis". Already, R. Barthes noted in A Lover's discourse : Fragments the choreographic character of the textual "figure". The dance is not really akin to a figure until the motif becomes the emblem of poetics. We limit the use of the term "ekfrasis" to a theatrical dance, really seen on stage by the author, and which brings a given poem a unitary structure. Ekfrasis implies a description in the second or first degree, depending on whether the dance is mediated or not by painting. The analysis allows, therefore, the evolution of a logic of representation, still strongly marked by the mimicry of sounds and movements, with V. Parnakh, with that of the presentation, with W. C Williams and D. Fourcade. The textual presence of dance is always supported by an explicit mention (vocabulary of dance, movement or the body, reference to a dancer, a choreographer, a piece ...). Expression or semiotic content are not sufficient to establish precisely the dancing dimension of the poem. Eventually, it is the mode of reading, and the type of perception that results from it, which founds the dancing character of modern poetry. The text functions as a matrix for the interpretation-embodiment of the reader, which can eventually lead to its transfer into dance. That's why we establish an original method, in order to legitimize an approach of textuality, that shifts to the reading act. It is considered as a unique performance of a "different reader", expressed through three self-explication situations. There is a mode of choreographic reading of the texts, attentive to the kinetic and kinesthetic dimension of the words and sentences, which we examine, after having noted the difficulty to separate the study of the dancing movement and the danced movement, when we settle with a semiotics of the text. On the other hand, if we take the reader's point of view, associations are less directly dependent on semantics. When he's reading, he develops from the text a kinetic perception, which may eventually lead to finding retrospectively in the form of the poem structures of movement. The notion of the inner world argues that the dance takes place inside the reader, even before its translation into dance.