Twyla Tharp

You can help me out here.

They were not using language, but surely neural rays were going out.

And probably if there had been a catastrophe in the culture, you know, some kind of huge fire or something awful, you know that people are thinking, you have a sense.

of what that thinking is and that there was and is and can be a kind of nonverbal communication that's not even a physical, you're not using sign language to communicate, but that you have a sense of what we called in the day, in the air, in the air.

And that that is a very powerful form of communication that we don't really respect anymore.

And how potent is it neurologically?

You need to have a 16-year-old boy around you when it comes to the sensitivity to smell and perfumes being sold commercially these days.

But the thing about distance is something that I'm very, very interested in.

I mean, the awareness is mostly visual for dancers, and it's usually established, again, in class.

If you have a crowded class, the distance can be the next one would be out here from this point.

But a really crowded class, the distance might be out here, in which case you're going to be angling yourself to the diagonal so you're able to get full reach, which is going to impact on design, right?

But there are also ways, and it's very demanding, actually, and it requires a lot of trust on everybody's part, where I can get dancers to work very close together.

And that has a real visual impact and it becomes a physical sensation.

of the person watching, it can become an anxiety.

Oh, don't step on that.

She's going to get stepped on.

There I'm kind of using it crassly.

But it's interesting to push people into what's called one another's space and be able to condense the amount of area that people feel comfortable in or require, which could be a very good thing culturally speaking because we got less and less space.

Yeah, absolutely.

Yes.