My involvement in theatre has been with the body in motion. However changed or reduced the motion might have been or however elaborate the means used might have been, the focus was this movement. In retrospect this seems a constant value which was preserved. From the beginning I wanted to avoid the pulled-up, turned-out, anti-gravitational qualities that not only give a body definition and role as “dancer” but qualify and delimit the movement available to it. The challenge was to find alternative movement.

I was not the first to attempt such alternatives. Simone Whitman, together with others, had already explored the possibilities inherent in a situation of “rules” or game-like structures which required the performer to respond to cues which might, for example, indicate changes in height or spatial position.