By Deborah Hay
Via a sequence of ingenious techniques to circulation and function, choreographer Deborah Hay offers a profound mirrored image at the ephemeral nature of the self and the physique because the locus of creative awareness. utilizing an identical uniquely playful poetics of her progressive choreography, she promises essentially the most revealing money owed of what artwork construction includes and the ways that the physique, the heart of our aesthetic wisdom of the realm, will be considered as our such a lot expert instructor.
My physique, The Buddhist turns into a fashion into Hay's choreographic concepts, a gloss on her philosophy of the physique (which stocks a lot with Buddhism), and a rare artist's primer. The publication consists of 19 brief chapters ("my physique loves to rest," "my physique unearths strength in surrender," "my physique is bored through answers"), every one an instance of what Susan Foster calls Hay's "daily attentiveness to the body's articulateness."
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Extra info for My Body, The Buddhist
Sample text
It was characterized by a tight, unpredictable musicality, suggesting acolytes in ludicrously formal worship. I imagine every cell in my body has the potential to perceive Now Is Here—a 1990s response to the 1960s cult adage Be Here Now. Now is the past, present, and future acknowledged as it unfolds each moment through each performer. Here is the awareness of that performer as he/she changes in relationship to the physical space, the other performers, and the audience. The practice of this meditation was the primary focus of a three-week workshop leading to four public performances.
The hours I have spent on stage performing dance add up to less than a single year. My body is limited by physical presence. I need more from dance than what I can get dancing. In 1988, a Laban Institute graduate offered to translate The Gar-dener into Laban’s system of dance notation and analysis. The Gardener is the second in my dance trilogy The Man Who Grew Common in Wisdom. A month later, she handed me the notated dance, admitting to critical choreographic omissions because of elements in the choreography that did not have a counterpart in the notation system.
A tinge of nausea compels me to persist. Dancing is like going on a field trip. My body is the guide and tools, including the tape recorder. Last night dancing in my apartment I hardly moved and hardly needed to. I am not home unless I am in my art. I remember sitting on the side of my father’s bed as he was dying. His hands were pressed together and tucked under his cheek, forming a small pillow for his head. There was a moment when I thought I saw him choose not to hold up the flesh of his face anymore.