ABSTRACT
I APPRECIATE THE OPPORTUNITY to offer ‘an architect’s view’ of Forsythe’s
work, except that I’m not entirely sure that one can still claim to be ‘an archi-
tect’ much less ‘have a view’ if one is sensible to the extremity of cultural
interrogation carried out by the Ballett Frankfurt. Forsythe ‘no longer a chore-
ographer’,2 as he has said – no longer the controlling director of movement
– working free of IDEA, of eidos, of a privileging of the eye, of the singularity
of any point of view or perspective.
