ABSTRACT
Christopher Bruce maintains that his ballets are not essentially about movement but about ideas. They may not have an obvious story-line and may be episodic in structure, but they generally include dramatic or emotive elements that make an immediate impact on the audience. While the works portray recognizable experiences, they are also open to a variety of interpretations, and Bruce prefers his audience to watch them unencumbered by pre-conceived notions. For this reason he usually avoids programme notes, and many of the titles of his works (such as Land (1985), Waiting (1993), Crossing (1994), and Meeting Point (1995)) leave their subject without narrative boundaries. Although the ideas are central to the productions, Bruce’s concern is to create a dance, not a statement.
