Created in 1967, his play, Satisfyin’ Lover, questions the codes of choreographic composition by introducing a movement to the stage that was until now not considered as belonging the vocabulary of dance: walking.
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Rather than presenting stylized choreography, Satisfyin’ Lover unfolds through the simple actions of a large group of people moving across the stage. The performers walk, pause, stand, or sit according to a clear and minimal set of instructions, allowing the choreography to emerge from ordinary movement rather than predefined steps. By focusing on walking and everyday postural patterns, the work foregrounds the richness and variability of human motion and dispenses with conventional hierarchies of performance.

Contemporary responses to the piece observed its attention to the full spectrum of natural posture and movement—every kind of walk, every physical presence, and the basic mechanics of the human body in motion. Satisfyin’ Lover thus becomes a quiet yet radical affirmation of the body in its everyday state, inviting audiences to reconsider what movement, choreography, and dance can be.

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According to the Centre Pompidou and Oregon Artswatch websites.