By Deborah Hay

ISBN-10: 0819563285

ISBN-13: 9780819563286

Via a sequence of innovative ways to circulate and function, choreographer Deborah Hay provides a profound mirrored image at the ephemeral nature of the self and the physique because the locus of inventive attention. utilizing a similar uniquely playful poetics of her innovative choreography, she promises essentially the most revealing bills of what artwork production includes and the ways that the physique, the guts of our aesthetic wisdom of the realm, might be considered as our such a lot proficient instructor.

My physique, The Buddhist turns into a manner into Hay's choreographic options, a gloss on her philosophy of the physique (which stocks a lot with Buddhism), and a unprecedented artist's primer. The booklet consists of 19 brief chapters ("my physique loves to rest," "my physique reveals strength in surrender," "my physique is bored via answers"), each one an instance of what Susan Foster calls Hay's "daily attentiveness to the body's articulateness."

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Extra resources for My Body, The Buddhist

Example text

He stayed that way. Scene Three: From the balcony of her eleventh-story hotel room, she was transfixed by tourists who departed the sandy beach via a parachute pulled by a speeding motor boat. For ten minutes, a flyer would drift above the bay and shoreline, secure in a harness fitted to the flyer’s chest. She could feel her own body lifted, legs dangling, heart trembling, pulled through space. Her fascination included the memory of a photograph of her daughter, who made the same leap years earlier.

I also noticed a wide range of interpretations of that performative writing. Most startling was hearing my own voice intoning a powerfully archetypal command of Voilà. The dancer, galloping in circles and exiting, had become almost inconsequential. She Began Galloping in Circles Horse Rider Woman Playing Dancing A Human Being Galloping Off my body is limited by physical presence : 29 Deborah Hay: My Body, The Buddhist page 30 8 my body knowingly participates in its appearances It is beyond dispute that no character in fiction, even if conceived as an ape, a beetle, a fantasm, is without connection with real persons experienced by the writer within contact of sight, sound, and touch, or second-hand through experience recorded by others in one medium or another, and whether or not the writer is always aware of this.

Grace Mi-He Lee in Voilà. Photo © 1997 by Tom Brazil. “She found a semi-apparent glass of liquid. ” Voilà. Photo © 1997 by Tom Brazil. page 36 “She found a semi-apparent glass of liquid. ” Scott Heron in Voilà. Photo © 1997 by Tom Brazil. A man dressed in medieval hunting clothes grabs a small bird by its tail feathers. He presses the tip of its tail firmly onto a table. As the bird frees itself some of its feathers remain on the table and scatter. ” II. The hand-held microphone became a horse’s tail.

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My Body, The Buddhist by Deborah Hay

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