I do not like to be thought of as avant-garde or some kind of didactic artist.

The diagonal gives a three-dimensional feeling to dancers that cannot be achieved when they are only front and back. On the diagonal, more movement is automatically visible.

I like large sounds and very complex sonorities, and I also tend to opt for creating a feeling of vast space. I could achieve this effect either by using a symphony orchestra, which for a dance piece is pretty much impossible these days, or by using a synthesizer on multi-channel tape and a superb sound system, to get that same sensation of expansiveness and depth.

I no longer need to have what I see as the surface of the dance so connected to the underlying structure.

I do not like to be thought of as avant-garde or some kind of didactic artist.

The relationship between the audience and the dancers goes through many different stages. Someone seeing my work for the first time may or may not pick up on that.

If the simple positions of ballet are demonstrated straight on, they seem quite dull and lifeless, but when put on a diagonal, they begin to take on all kinds of possibilities.