“The rehearsals leading up to this concert were engaged in the invention of a structure or game plan that was understood by all participants. One structure that came from Simone was to identify something in the room that could function as a score that we would interpret simultaneously. We wanted answers to the questions of what to do in time, space, and intensity. In performance, one dancer pointed in a random direction with eyes closed. I must say my heart sank when I traced the point to a barrel-shaped wood-burning stove. But, in those days, I was hot out of a cannon in improvisations, especially in front of an audience, so, likely, fire, smoke, and chimneys were just right. Simone told me that (during rehearsals) we used to do the “floor-plans of fairytales in about five seconds” as a structure and might have included them (in the performance) as well. I (also) used this structure for Inside (in) 1966.” - Trisha Brown, Trisha Brown: Dance and Art in Dialogue, 1961-2001, Teicher, Hendel