ABSTRACT
On May 19, 1997 William Forsythe and Jennifer Tipton sat down in Frankfurt for an informal conversation about their respective uses of light—and darkness—in dance. They talked of their approaches to lighting design and experimentation, color theory, the design of instruments they now use or wish they had, and artists they respected, manifestly including each other. Forsythe reveals here the central importance of lighting to his work. He lights at the earliest stages of choreographing, making the design almost equal in importance to the movement. Tipton discusses her commitment to artistic self-reinvention and refers to lighting design as “music for the eye”.
