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  • O, Oexcerpt from the score
  • Deborah Hay

O, O is performed in the round. There is no single area in the theater that is front. The performer perceives a continually altering relationship to the periphery of the circle, or perhaps, equally sensual, the performer continually surrenders the habit of locating her/himself in relation to a single direction.

Wholegg Theory: The wholegg theory is a metaphor for the performer's relationship to an audience seated in the round. The performer is the yolk. The viscous fluid called albumen surrounding the yolk, represents the pliable space between the performer and the audience. Where the albumen ends is the where the audience begins.

Note: As the choreographer and a performer I cannot perform both practices at once; either the awareness of the wholegg theory or, my choice to surrender the pattern of facing a single direction. I go back and forth, choosing the one or other when I need to be newly inspired.

Preset: A folded black cloth is placed on the floor just outside the circle. Its size is large enough to cover a dancer's head and neck.

PART I

Directions for the five choreographer/dancers:

  1. 1. Enter separately from backstage and pause before you reach the outside edge of the circle. 2. Make a choreographic decision about where you want to stand on the circumference of the circle, then go there, following the circle's perimeter, without passing in front of another dancer. Included in your choice is the fact that symmetry is out of the question.

  2. 3. Once you are in place, begin the practice of choosing to surrender the pattern of facing a single direction. There is no way this looks.

  3. 4. You produce the slightest movements, just left of ordinary, "doing" as little a possible in order to heighten your awareness.

While the audience is finding their seats, your presence helps still the sanctuary.

As the light changes, you remain in the practice, without anticipation of a simultaneous entry into the circle, smoothly, like a float, moving directly into the center of the circle without disturbing the albumen. You meet the four other performers along a line, in the center, taking a moment to collectively get what you need, before separating and making another straight path, more or less, so that you arrive at another point on the periphery, reenacting a final movement of a great dance, but right before you arrive at the breadth and height of that final movement you reverse its flow, retreating to a standing position, but just before you actually get to that standing position you turn so slightly and lift your arms straight overhead, and when your fingertips touch a certain spot it is to start to sing a song to the tune of Tico Tico, but the song is not there so you bring your arms down and start this sequence again, beginning with entering the circle, only now you move independently of each other. It is after the third crossing that you find the song when the tips of your fingers release it from overhead. "You are the only one, you are the only one, you are the one, the one, the only one; you are the only one, you are the only one, you are the one…". "You" is no big deal. "You" is you, the singing dancer. You give the song to yourself, and let it spread to us from you. [End Page 163]

Deborah Hay
New York, 2006
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