The body is intrinsic movement. Without movement the body cannot change and action cannot be resolved. Because the movement is so essential to the body, its contours upon the stage must be perceived from the depth that is shaped from what is extrinsic to it. The body grounds itself into change. To sever the intrinsically moving body usurping it with the extrinsic grasp suffers the movement into mere utility.

The body moves unto the creation of image of its change from stillness to stillness actively seeking the word: the body speaks too;

the image is always brief, always moving, always discovering its stillness. It is essential for the body to move and to rest upon the depth of its stillness. The body is among the deep moving unto deep.

The Character of Image’s movements rebel against utility. The body crafts its language through the foundation of word within the intellect becoming all one from the sense that perceives what becomes its being.

The body is language. Do not expect it to speak words. That is the great failure of theatre. It expects the body to speak words because it expects it to be used, to be grasped from and grasp—instead of fulfill and be fulfilled from—what is deliberately in front of it, what is seen, blind to what is—the unseen depth of intrinsic movement.

The body speaks!

The body speaks;

the body: speaks—

the body.