Though performed for the camera in 1995, longtime Wilson collabators confirm that these principles and instructions are almost identical to those Wilson demonstrated in the Byrd Hoffman workshops of the early 1970s.

The idea in filming him this way was to focus the eye on the movements of his whole body rather than on the expressions on his face. And also to make of that body’s movement a kind of drawing akin to those he makes elsewhere with a charcoal pencil.

The full sequence of demonstrations gives a comprehensive lesson in Wilson’s direction, starting with this first clip that considers the simple act of standing on the stage. The less patient viewer will find the asterisked clips to be the most striking.