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behind the other which was more difficult to manage than a larger, wider space.  A smaller space limited the speed of expansiveness of movement.  Always the general feel of the room came in for extensive comment. During the latter half of the working period the objects would always be set out in the space by one person prior to the start, this being found to give the maximum freshness and potential for work.  As the work developed during each session, assemblages of objects or materials would occur which became a kind of external memory of what had happened. Frequently people would remark on the potency or energy in these arrangements which would often occur as a result of a whole series of actions, the telling of a story or some fantasy beyond the actual objects themselves.  It was this magical quality that gave the work its value and sustained our confidence in it. The choice of objects, although seemingly casual, was crucial to the feel of the work.   The final collection: large iron hoop. Large post, chair, easel, small post, piece of packing material, ball of string, nails, sack of off-cuts of wood, musical box, two mouth organs, marble egg, wooden owl, fresh oranges, old orange stuck with cloves, 2 bamboo, foam ball, pillow, spotted scarves and a large black cloth.  These felt like the ‘right’ things.   The collection was achieved by sensing lack of scale, weight, freshness, etc. in what had existed.  It was some of these objects initially which gave rise to the ‘characters’ and the Little Theatre discussed in a paragraph below. In the choice of objects there seemed some virtue in sticking to everyday things rather than bizarre or unusual ones, since these seemed to give a greater variety of reference.  The use of the objects became most interesting after they had become a little familiar and most obvious uses had been exhausted. It was felt that our particular range of objects gave a certain continuity and character to the work so that there was a reluctance to make radical changes in the set at any time during the working period, and particularly towards the end of that period.  Early use of objects included the making of rows, rings or enclosures and buildings.  Symmetries were also frequently used.  In later phases these child-like assemblages gave way to more loosely organized and sophisticated arrangements. 1.       Movement The relationship between skilled and unskilled work was likely to be most conspicuous in the area of movement, where four of the seven of us were experienced dancers and three were not.  This turned out to be less of a problem than it might have been, particularly as the movement vocabulary of the dancers concerned is derived more from every day movement than from any particular dance idiom. Probably a key factor in the relative ease with which the three of us entered the movement work was that there were no particular expectations of what might happen.  Thus what could have been ‘error’ in other circumstances