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The relationship
between choreographer and dancer is precious, as is the relationship between choreographer
and musician, light designer, director--any artist or technician. It is so precious
to me, that I wanted to make this a main focus for the making of work. The hierarchy
of the position choreographer-dancer was to become diminished, and the dancer as artist
was to become very important on a functional level. I wanted to lose my ego as a
choreographer and create something that would have a group-spirited mind of its own.
I studied and worked, for this to occur. Amidst failure as well as success I
explored the possibilities of shared responsibility within creation. Release developed
within me as a source for shared creativity. THE
LITTLE THEATRE, (1980-1981) This work marks the beginning of the concept
“Responsible Anarchy,” though at the time none of us knew what we might be
developing. In fact, it is possible that this work has taken different forms in all
its participants since the time when it first occurred. Though I had been working
with groups occasionally, and mostly within the context of education, I was much better
known as a soloist in the early years of my career. It was economically possible to
tour internationally as a soloist, and the cost of taking a group anywhere was prohibitive
for me. I applied for grants repeatedly in England and was told that my work was
very important, but I was sure to survive and my students were not at all secure so it was
hoped that I could understand that I was not to be funded and they were. I began to
see this as a problem and eventually left England mostly because I was unable to create a
financial base for my work. In the fourteen years I was there I received only 2500
pounds. That was indeed tragic. But, as with all great difficulties, it
produced a very positive spin-off. I worked as a soloist so consistently and diligently,
that I was able to develop a great sense of independence and intuitive discovery in the
real time of performance. I discovered an inner voice of creativity that was based
in RELEASE concepts. In my independence and devotion I made funding bodies and
external factors outside the art practice itself irrelevant. Essentially, I flowered
in a island of isolation, having no one but myself to please, interest and define. I
learned to make my own boundaries, and to create the laws of my own choreographic
existence. Two people who followed me on this journey have been valuable beyond any
credit that I could give. They are Peter Hulton, who had the kindness and good
nature to watch rehearsals and give me supportive commentary, and Colette King who often
didn’t say much but showed so much with her tears as she repeatedly told me
“Lass, I am so moved.” Without them my formation as an artist would
have never been possible. I continued to be interested in group-work, though
not often having a chance to make it.