This is the most personal film of maya. She doesn’t appear in the film, but she is the camera. She is moving. She is breathing in relation to this dancer. She is composing so that the one shadow or the three shadows or at times the no shadow of this dancer against the background are the integral part of the dance. Every kind of quality of texture is a really felt part of the frame. So I feel, this is very personal.
［Maya Deren］ Metamorphosis in the large sense meant that there was no beginning and no end. And indeed I found out from the Chinese boy who performed the movements here that this school of Wu Tang is based on the book of change and that it’s theory is that life is an ongoing process, constantly, and it is based on a negative-positive with a constant revolution into another negative and positive and so on. So my first problem became to construct a form as a whole, which would suggest infinity. Now the Wu Tang based on negative-positive principle translate that in physical terms into the breathing. And that’s why it’s called an interior boxing because the movements are governed by an interior condition and so I determined to treat the movement as a meditation that one circles around the idea in time terms.
