ABSTRACT
I have often worked at the margins of dance, desiring deeply to move but in some ways alienated from the ideals and assumptions of dance as an artistic and aesthetic genre. Well before I discovered “physical” or psychophysical theater, I approached movement in a theatrical manner, as in this early attempt at a choreographic work arising from the unavoidably dramatic bodily movement of laughter and crying. Although I didn’t have the tools then to structure precise physical actions, my comments about emotion, physicality, and musicality prefigure the post-Grotowskian work I later discovered. 1
