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Mindy Michaels
Amber Watson
English 311
3/25/12
Forsythe: A Contemporary Choreographic Master
Martha Graham once said, My dancing is not an attempt to interpret life in the
literary sense. It is an affirmation of the life through movement. She described dance as
a celebration of life and the miracle of the human body. This is why many art enthusiasts
around the globe have continued to hold dance as an exquisite exploration to the inner
soul of mankind. Like Graham, William Forsythe has a unique vision of dance and its
purpose. Forsythe believes that choreography can be more than an exploration of the
inner self by becoming the actual interpretation of the soul. Forsythe believes that
dancers can take thoughts, which are intangible and basically imaginary, and represent
them through movement. What else, besides the body, could physical thinking look
like? (Forsythe 1). Throughout history, movement has been used as a form of
communication. As such, dance has and continues to progress parallel to the changing
life dynamics it faces. William Forsythe and other dancers recognize that choreographic
skills require unique creativity. Originality in movement, performance, and theory weigh
heavily on those courageous enough to brave the world of movement creation. Lines,
shapes, self mirroring, avoidance, and reorientation are all techniques created by William
Forsythe, a current contemporary choreographer (Kaiser). William Forsythe not only
pushes the boundaries of traditional choreographic process established by earlier

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pioneers, but his movement vocabulary challenges the minds of the dancers and audience
members.
The History of Choreography
Observers in the late 1800s would tell us that Ragtime and the idea of expressing
oneself dominated dance culture. Isadora Duncan developed a new type of dancing that
she felt, is just an effort to express the truth of my being in gesture and movement. It
has taken me long years to find even one absolutely true movement. Duncan used
unconventional methods of dance by dancing barefoot through the grass and seemingly
abandoning all inhibitions. In comparison, William Forsythe seems to pay closer
attention to inhibitions by using movement to describe and interpret them. Many saw
modern dance as an opportunity to outwardly express the concerns of the masses as
Martha Graham did in Panorama, which illustrated women rights. Choreography
seemed to take on whichever form was most needed. Although each choreographer had
their own movement vocabulary and style, there were some common elements that
appeared to be the basics of creating dance.
The first of these elements was the idea of body awareness. Before Isadora
Duncan and Martha Graham, dance seemed to be an unconscious event for the
participant. These women during their own periods of time began to introduce a
conscious connection between body and mind. Techniques such as breath, body half,
upper and lower, cross-lateral, core-distal, push and pull, all became the building blocks
of dance . These words continue to be utilized in creating any type of movement, as they
explain all possible actions in a rudimentary way.

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After describing each individual movement, the choreographer can then use
techniques such as theme and variation, retrograde, mirroring, inversion, and repetition to
create movement sequences (Blom and Chaplin). Phrases manipulated by theme and
variation allow a short movement section to be repeated but with slight differences at
each repetition. If a dancer throws an arm into the air and then turns, the next variation
could be a flick of the arm and a circling of the hip. The concept and idea stay the same
yet the outward representation changes slightly. In contrast, repetition allows for the
exact movement or phrase to be repeated exactly as it had been previously. Using the
previous example, the second repetition would be a thrown arm and a turn. Much
different than theme and variation and repetition is the idea of retrograde motion. This
tool allows the sequence to be performed backward. I.E. The dancer would turn and then
throw the arm. Almost parallel to the retrograde would be the inverted movement phrase.
This takes the original movement and requires it to be performed upside down. In my
example, the dancer would need to be put into a handstand, the leg flicked and then the
body turned or rolled into the ground. Inversion definitely proves to be the most
challenging for dancers and choreographers as it requires the plane of motion to be
completely altered. All of these choreographic tools and more are used to create dance
today. Just as the theories and techniques developed by Martha Graham and Isadora
Duncan revolutionized choreography and dance, William Forsythe continues to progress
and develop contemporary ideals they introduced.
Intelligent Innervations
William Forsythe was born in Denmark in 1963 and was first formally trained in
dance under the direction of Nolan Dingman and Christa Long in Florida. After studying

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there, he became a member of the New York City Joffrey Ballet. William Forsythe
experienced the fundamentals of choreography but, as most artists, the current technique
did not accurately express the vision within him. Forsythe soon realized that the way
choreography was approached needed to be enriched with more than just a free flow of
expression. Forsythe grew to love and admire the idea that the movement and the dancer
were connected not just by association but that the performer actually took part in
creating through conscious thought. The movement was not separate from the mind
producing it. After becoming the resident choreographer for the Stuttgart Ballet, Forsythe
was introduced to George Balanchine at the New York City Ballet (Forsythe). Contrary
to his contemporaries, Balanchines theories of dance focused on the dancer and the
relationship to the movement. Balanchine encouraged Forsythe to continue in his
explorations and eventually Forsythe developed his own dance language.
Forsythe Fundamentals
William Forsythes dance language includes a continual movement and
articulation of the foot, constant wringing and twisting in the body, and his extraordinary
use of geometric imagination. Within this technique, the dancer must imagine a shape, a
line, or a shell of their own body, project the imagined image into the space around them
and then interact or manipulate the object. To help others understand his complex dance
structures, Forsythe has introduced short web videos that help explain his techniques.
These Improvisational Technologies are hosted by Forsythe as he demonstrates the
concepts he uses to create movement phrases.
Forsythe begins by explaining and demonstrating one of the simpler concepts
called avoidance. Avoidance allows the dancer to imagine a line being drawn in the air

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following the path of a moving body part. As the line is being drawn, the body must
move and react to avoid being hit by the line or simply interrupting or breaking what was
created. If the arm arches in a circular pattern downward and toward the legs and hips,
the dancer much shift their torso and pelvis to avoid any interference with the initial arm
arch.
Not only is the body required to react to its own movement, but the conventional
planes of motion including sagittal, vertical and horizontal are also challenged. These
traditional planes of movement were created in respect to the natural dynamics of a room.
Forsythe however, creates his own planes of motion by literally changing his orientation
to the environment. Forsythe will imagine a horizontal line that follows a natural line in
his body. In the video, he chose the line that lies on his hip bones. The line is horizontal
as Forsythe stands but to change the rooms orientation, he twists his body to design a
new diagonal type of organization. Movement that follows, all entirely depends on the
new design of the room. A simple turn for example, normally executed in the vertical
plane perpendicular to the horizontal floor, now must be executed in regards to the new
horizontal and vertical orientation; creating a diagonal or tilted aerial turn. The spatial
reorganization technique can be quite difficult to master as a dancer and choreographer as
it forces the mind to shift all physical orientation and make quick adjustments to the
movement (Grafton).
Imagination and adjustments must also be made when self mirroring. This
technique involves the dancer pausing in their flow of movement to create a still shape,
then resuming their motion while keeping an imaginary sculpture of their former shape in
their mind. It can almost be explained as a kind of out of body moment. Except instead

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of the body being left and the spirit being able the roam, a part of the spirit is left on the
stage where the shape was formed with the body. The body cast of the shape must
remain exactly where it had been created and then the dancer can return to its shadow and
dance in relation to the imagined shape. This is challenging because it requires the
dancer to not only remember previous shaping and spatial relationship but to then interact
with it as if another dancer were holding the same shape (Holzman 111).
Because so many of Forsythes techniques take years of practice to understand
and perfect, there are several members of the William Forsythe Company who perform
improvisational solos for the camera. The movement within these solos is purely
instantaneous, without any planning or set order. Noah De Gelbers self improvised solo
is most interesting to watch as it encompasses the largest variety of techniques (De
Gelber). As Noah begins to move, he has to constantly think of imaginary lines and
shapes, room orientation, and imaginary shadows of himself. The energy and conscious
thought that is required for Noah to accomplish this is tasking physically and mentally.
Traditionally, the dancer allows the movement to direct their body and frees their mind of
any sort of premeditation. But with Forsythes techniques, the dancer must continually
be thinking about what is happening in reality, what they are imagining, and how they
interact between the two.
The mind boggling choreographic process also poses a challenge for the audience.
If unaware of the pieces development, the audience might be amazed at the beautiful
movement that is performed, but the intellectually inspiring themes will not be
adequately acknowledged. An open minded and focused audience is more likely to
understand the methods by which the movement is produced. Because the technique is

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so imaginative and thought based, the originality and preciseness of his choreography is
insurmountable.
Pieces of Forsythe
The dance One Flat Thing Reproduced concentrates on the technique and unique
use of the imaginary line. The William Forsythe Company performed and filmed this
piece in a warehouse with 30 flat tables. Throughout the performance, dancers
consistently created new lines with their arms, legs, heads, and full bodies. The
technique of the imaginary line allows it to be broken, extended from its origin, or
dropped. Forsythes practice of dropping lines is the physical representation of the
imaginary line retracting on itself and back to its original source. This usually includes a
light or heavy tap of the body part in motion, thus the term dropping. Adding the element
of sound heightens the directness and boldness of the choreography. Audience members
and dancers will be better able to follow the techniques when listening for these helpful
sound ques.
A more noticeable sound is present in Forsythes Loss of Small Detail. The stage
is covered with white powder and the dancers are dressed in pedestrian clothes such as
jeans, jackets and regular shirts. Powder is thrown into the air and sifted through making
the dancers movement and costuming seem to represent the natural instinct to search for
the meaning of life (Roy 19). As the search continues off the stage, the piece ends
dramatically with a dancer sitting toward the front of the stage rocking violently back and
forth. As she throws her head back vehemently, the dancer cries as if in pain. Although
the dance itself supported Forsythes ever growing reputation as a creative genius, the

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ending was so powerful that even if the techniques were not all recognized or even given
much thought by the audience, the message of the piece could be clearly understood.
Forsythe Influence on the Creative World
Forsythes messages are found not only in his love for dance, but also in his
passion for visual arts (Crompton). Dance and 3-D movement seems to be a continual
theme throughout his forms of visual art. Most of his artwork is moveable and
interaction with those observing is encouraged. One of Forsythes pieces called
Scattered Crowds filled an entire warehouse with white balloons. As guests entered the
room, a flood of zen-like music filled their souls and they were transported to a tangible
blank life canvas. Observers were welcome to interact with the delicately hung balloons
and the movement of such only added to the beauty of the overall environment. The
movement of the balloons almost created a dance in itself, a weaving and bobbing of
balloons. The choreographers of such a dance were the observers themselves.
In a later exhibit, Forsythe involved the audience again when he created another
large room filled with gymnastic rings. The rings were hung from every inch of the
ceiling and at every height. During this exhibit, guests were welcome and again
encouraged to swing, climb, or hang from any ring they could. The interactive nature of
his art exhibits provide the opportunity for the art observers to be inspired by movement
of any kind, not just the movement of the human body. Although William Forsythe
mainly focuses on the bodys movement, his integration of other art forms and dance
gives a new perspective on life and how observers relate to art.
Conclusion

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Forsythes artistically intellectual dance technique is by far the most interesting
and mentally captivating movement an audience member could ever ask. His amazing
capability to see what is not visible is truly a gift and gives life to more than just his
choreography. His visions are a philosophy of life and those who are able to dance on his
company are challenged in more than one level. Those who watch his work being
performed or see his art exhibits are encouraged to not only find meaning in the pieces,
but also to find meaning in their own movement, and every day life. William Forsythe
seems to completely embody the meaning of Isadora Duncans saying, A dancer, if [he]
is great, can give to the people something that they can carry with them forever. They
can never forget it, and it has changed them, though they may never know it.

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Works Cited
Blom, Lynne Anne, and L. Tarin Chaplin. The Intimate Act of Choreography. Pittsburgh:
Univeristy of Pittsburgh, 1982. Print.
Crompton, Sarah. William Forsythe Interview. The Telegraph. 7 April 2009, Culture
and Art. Print.
De Gelber, Noah, perf. Improvisation Technologies: William Forsythe Solo. Dir. Chris
Ziegler. Karlsruhe, 2008. Film.
Forsythe, William, Maria Palazzi, and Norah Zuniga Shaw. Synchronous Objects for One
Flat Thing Reproduced. Synchronous Objects. The Forsythe Company, n.d. Web.
23 Feb. 2012.
Grafton, Scott, and Emily Cross. Dance and the Brain. Dana.org. The Dana
Foundation, Web. 23 Feb. 2012.
Holzman, Richard B., and Robert Byrne, The Arts: A Bridge to Learning. The Clearing
House. 52.3. (1978): 111-115. Print.
Kaiser, Paul. Dance Geometry (Forsythe). Openendedgroup.com. The Open Ended
Group, 1998. Web. 23 Feb. 2012.
Roy, Sanjoy. Step-by-step Guide to Dance: William Forsythe. The Guardian 6 Oct.
2008, U.S. ed., sec. 19. Print.
Bibliography - Background
Beiswanger, George. Chance and Design in Choreography. The Journal of Aesthetics
and Art Criticism 1.21 (1962): 13-17. Print.
Blom, Lynne Anne, and L. Tarin Chaplin. The Intimate Act of Choreography. Pittsburgh:
Univeristy of Pittsburgh, 1982. Print.
Blom, Lynne Anne, and L. Tarin Chaplin. The Moment of Movement: Dance
Improvisation. Pittsburgh: University of Pittsburgh, 1988. Print.
Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics.
Pittsburgh: University of Pittsburgh, 1987. Print.
Lavender, Larry. Dancers Talking Dance: Critical Evaluation in the Choreography
Class. Versa Press, 1996. Print.
Bibliography Contemporary

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Crompton, Sarah. William Forsythe Interview. The Telegraph. 7 April 2009, Culture
and Art. Print.
De Gelber, Noah, perf. Improvisation Technologies: William Forsythe Solo. Dir. Chris
Ziegler. Karlsruhe, 2008. Film.
Forsythe, William, Maria Palazzi, and Norah Zuniga Shaw. Synchronous Objects for One
Flat Thing Reproduced. Synchronous Objects. The Forsythe Company, n.d. Web.
23 Feb. 2012.
Grafton, Scott, and Emily Cross. Dance and the Brain. Dana.org. The Dana
Foundation, Web. 23 Feb. 2012.
Holzman, Richard B., and Robert Byrne, The Arts: A Bridge to Learning. The Clearing
House. 52.3. (1978): 111-115. Print.
Kaiser, Paul. Dance Geometry (Forsythe). Openendedgroup.com. The Open Ended
Group, 1998. Web. 23 Feb. 2012.
Roy, Sanjoy. Step-by-step Guide to Dance: William Forsythe. The Guardian 6 Oct.
2008, U.S. ed., sec. 19. Print.
Solway, Diane. Is it Dance? Maybe. Political? Sure. New York Times 18 Feb. 2007,
Dance. Print.
TUK. What is Choreographic Style? Forsythe as an Example. Ballet Dance
Magazine (2000): n. pag. Web. 23 Feb. 2012.
William Forsythes One Flat Thing Reproduced. Perf. Pacific Northwest Ballet. PNB,
2008. Film.