The instructions were mind-numbing. There were twelve games, each of which began from one of four configurations and had a starting motion, a movement vocabulary (nothing more complicated than walking, running, and some simple gestures), and an ending configuration. And then there were the rules. These weren’t long; they were just mystifying, algorithmically generated, along the lines of “If x happens, then do y; if y happens, then do x,” the kind of thing that makes no sense until you’re in the middle of the game. At least, I hoped that was the case. We were told that we could attend training sessions before the performance, and admonished to study the rules carefully. All of this made me a bit nervous. (via Noemie Lafrance’s New Work, “Choreography for Audience: Take One” : The New Yorker)