Lamb at the altar: the story of a dance
"The intention of my work is to dislodge assumptions about the fixity of the three-dimensional body."-Deborah HayHer movements are uncharacteristic, her words subversive, her dances unlike anything done before-and this is the story of how it all works. A founding member of the famed Judson Dance Theater and a past performer in the Merce Cunningham Dance Company, Deborah Hay is well known for choreographing works using large groups of trained and untrained dancers whose surprising combinations test the limits of the art.Lamb at the Altaris Hayrs"s account of a four-month seminar on movement and performance held in Austin, Texas, in 1991. There, forty-four trained and untrained dancers became the human laboratory for Hayrs"s creation of the danceLamb, lamb, lamb . . . ,a work that she later distilled into an evening-length solo piece,Lamb at the Altar.In her book, in part a reflection on her life as a dancer and choreographer, Hay tells how this dance came to be. She includes a movement libretto (a prose dance score) and numerous photographs by Phyllis Liedeker documenting the dancers"s four-month emergence. In an original style that has marked her teaching and writing, Hay describes her thoughts as the dance progresses, commenting on the process and on the work itself, and ultimately creating a remarkable document on the movements-precise and mysterious, mental and physical-that go into the making of a dance. Having replaced traditional movement technique with a form she calls a performance meditation practice, Hay describes how dance is enlivened, as is each living moment, by the perception of dying and then involves a freeing of this perception from emotional, psychological, clinical, and cultural attitudes into movement.Lamb at the Altartells the story of this process as specifically practiced in the creation of a single piece.
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altar arrive attention Austin backward baton twirling begins Beverly Bajema Brenda Brett Brett Vapnek choreographed chorus Chris circle Circle Dances conductor Dance Umbrella Deborah Hay diagonally downstage left duet dying Ellen Fullman energy Eric Gould exit eyes facing the audience feel feet finger fingertips five flats floor foamcore foot front hands head Heather Jarry Heleri hips imagine impermanence inside invite being seen John Cage jump large-group workshop lights Linda Montano Lisa Foster Little Lamb living Liz Gans look mance Mare Marta Mary Merce Cunningham morning mouth move movement Namsik once onstage performances of Lamb person Playing Awake 1991 remember run/floating Savannah Scott Heron singing snap solo sound space stage left stage right stand step stop studio talk Texas theater Tillie's song tion torso trio turn twirling untrained dancers upstage left upstage right Vermont watch wings