Like Leigh, I am frustrated by choreographers who rely on the crutch of written text to explain to the audience what they should be seeing and feeling. In European lobbies, one can purchase very luxuriously produced booklets -- 10 or 15 euros a copy -- which will do your thinking, understanding, feeling, and even seeing for you. It's a costly substitute for being able to touch audiences directly by what you put on the stage.
Leigh, your earlier post suggested that the way the modern dance audience watches things has changed over time. I'm interested in this kind of process. What kind of changes have you observed? Why do you think this has occurred? And what are the implications?
[P.S. I love the folllowing. The actual theory - which took S-O-O-O long to express, sounds rather like the outline of ... a modern dance! Brooding solo to start (the thin part); hectic, crowded stage in the middle (the thick part); ending with a return to the solo dancer is left alone, either changed or not changed, by what he or she has experienced (another thin part).
Hey! Jules Fieffer! Draw a comic strip of that!
C: [under breath]God!
A: ...All brontosauruses are thin at one end; much, much thicker in the
middle and then thin again at the far end. That is the theory that I
have and which is mine and what it is, too.
C: That's it, is it?
A: Right, Chris!
C: Well, Anne, this theory of yours seems to have hit the nail right on the
A: ... and it's mine.
C: Thank you for coming along to the studio.
A: My pleasure, Chris.