1. B. Kirchner, 'Good theatre of a different kind', Ballett International, August 1984, p. 6.
2. For example: 'For some, Forsythe is merely engaged in glossy modish games which offer the allure of pop-concerts or art-films, but are ultimately as facetious as his titles. For me, his theatre appears an image of our world: unstable, harsh, confused, sophisticated and yet often also funny. And I believe that he proves that you can be intelligent and supremely entertaining at the same time.' N. Meisner, and J. Percival, 'Choreographer for today'. Dance and Dancers, number 481 (April 1990), p. 23. This paper will not explicate his bold approach to theatrical conventions, such as lighting, props, music, and use of speech, which are well described in the same article.
3. R. Sulcas, 'William Forsythe: channels for the desire to dance'. Dance Magazine, LXIX, 1 (September 1995) p. 59.
4. As related in Meisner, and Percival, 'Choreographer for Today', (April 1990) p. 26.
5. S. Driver and the editors of Ballet Review, 'A Conversation with William Forsythe', Ballet Review, 18.1 (Spring 1990), p. 96.