Using the Sky : a dance book cover
1st Edition

Using the Sky
a dance



ISBN 9781138914353
Published October 2, 2015 by Routledge
164 Pages

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Book Description

In the mid 1990’s Deborah Hay’s work took a new turn. From her early experiments with untrained dancers, and after a decade of focusing on solo work, the choreographer began to explore new grounds of choreographic notation and transmission by working with experienced performers and choreographers.

Using the Sky: a dance follows a similar path as Hay’s previous books—Lamb at the Altar and My Body the Buddhist—by exploring her unrelenting quest for ways to both define and rethink her choreographic imagery through a broad range of alternately intimate, descriptive, poetic, analytical and often playful engagement with language and writing.

This book is a reflection on the experiments that Hay set up for herself and her collaborators, and the ideas she discovered while choreographing four dances, If I Sing to You (2008), No Time to Fly (2010), A Lecture on the Performance of Beauty (2003), and the solo My Choreographed Body (2014).

The works are revisited by unfolding a trove of notes and journal entries, resulting in a dance score in its own right, and providing an insight into Hay’s extensive legacy and her profound influence on the current conversations in contemporary performance arts.

Table of Contents

Foreword

Introduction

Diary

A Lecture on the Performance of Beauty

If I Sing To You

My Body The Archive

My Choreographed Body

Epilogue

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Author(s)

Biography

Deborah Hay is an award-winning experimental choreographer working in the field of postmodern dance. She was a member of a group of artists that was deeply influenced by the work of Merce Cunningham and John Cage. The group, later known as the Judson Dance Theater, became one of the most radical and explosive postmodern 20th-century art movements.

 

 

Reviews

Using the Sky weaves together a series of questions, thoughts, and actions aimed at stepping, literally and figuratively, into the unknowable.

Didier Morelli - The Drama Review