ABSTRACT
To choreographer Susan Marshall, dance is about real people, not about performers. Marshall designs movement choices that encourage audiences to see modern dance in terms of real men and women, conveying a sense of the struggle involved in intimate relationships. As such, her choreographies, Marshall says, are ‘a sequence of interior states’, telling audiences about ‘interaction and relation and response’, and revealing human intent. As one critic has commented, the ‘intelligently calibrated constructions reveal nuances of human emotions, complexities of intimate relationships, absurdities and hidden hostilities that form part of even the tenderest friendship’.1
