This is the running order of the work. Or … it describes certain possibilities that if I’m clever enough could unfold in the weeks after the showings into something else. Yes, the phrase names are stupid. No, my notes do make sense to me, when I can read them. Yes, I have quite unnatural levels of nervousness and anxiety about this piece that I am so far unsuccessful in convincing myself is in fact excitement.

I spent Friday afternoon with Chris at the centre on what I was supposing, despite my utter fascination, was not going to make it into the piece. Well, how wrong was I? More on that later.

We were in Napier St again on Saturday, and ripped through most stuff and are vaguely coherent up to the end of phrase 37. Friday we went through the middle section that I decided for sundry reasons needed to be fast. Mostly this was because the movement is quite large and gross, and resists attempts to create fine detail like in the early stuff, and can just not be approached in the same way as those early phrases.

Rather than being a improvisation than once rendered lends itself to further unfolding, the middle section is more of a direct representation of the improvisation itself we did in the VR Theatre.

I have retired the word ‘thrash’ from contemporary dance lexicon. It’s boring after so many years that anything vigorous and slightly uncontrolled gets saddled with such a mediocre word. In response, I say, ‘thesaurus’.

I’m really too tired to type and every second word has mistakes in it so I think I’ll just go to bed and start again tomorrow.