After rehearsals we head to the square outside Vooruit where in the last three days, Meg Stuart and her company Damaged Goods have been staging a series of four hour improvisations s. In the theatre at least Anna Viebrock’s set for Meg’s Visitors Only (a piece that I contributed some text to) was always hugely imposing – a monolithic two storey house-structure - but here, placed outdoors between the library and some other public building it almost looks small – as though a dolls-house has been bisected by Gordon Matta-Clark and set up here beside the road in this small Belgian city.

Sat facing the house Paul Lemp and his musicians are playing a kind of endless not-changing and always-changing whirlpool of cello, bass and echo – a circular tide into which the dancers ‘on stage’ and those of us watching are drawn alike without a chance to escape. For this final day the dancers work four hours around a single section of the old Visitors performance – a task that involves them, like the music, forever spinning and rotating either solo or in constantly recombining groupings. Observed from the street the dance is people spinning alone, spinning together, circling, walking, twisting, knotting, freaking out, pacing softly, running, all in circles, clockwise, anticlockwise; ones view of anyone only ever partial, framed up and fractured by the architecture of the set – windows, doorways, cutaway walls.

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