ABSTRACT
The process o f landscape is very much like that o f dance. In dance, there is a long journey from the barre to centre stage. Along the way, the discrete p liez and relevez o f the classe give way to undifferentiated m ovem ent. The dance cannot be reduced to its basic elements, but extends beyond itself as a totalization that includes its history and its potential. It releases time, space, form and m ovem ent, to bring dancers and audience into a com m on sphere o f expression. And yet, we are fooled. For, the m om ent when the pas de deux reaches its exquisite climax, when the w orld seems to begin and end w ith a single subtle gesture, that moment, could never exist - or could never be the same - w ithout each agonizing pliez that has gone before, w ithout every dedicated encounter with the cold reality o f the barre.
