What if the potential to perceive all time as unique and original, is not a theme, or movement style, or goal, but a frame for the performers to weave their bodily intelligence through a choreographed melange of notable and hidden metaphors for The Match?

Deborah Hay

the match

Deborah Hay

choreographer and director

Ros Warby, Wally Cardona, Mark Lorimer, and Chrysa Parkinson

performers

Jennifer Tipton

lighting

::approximate time 50 minutes:

----------INTERMISSION----------

Following the New York premiere at Danspace in February 2004, each dancer began a solo adaptation of the quartet. Sensations, memories, fragments, and details from The Match are embedded in the solo adaptations. A daily practice of the performance of the solo, by each dancer, was the method by which the adaptation becomes a collaboration rather than a bodily reenactment of already existing material. This process represents an effort to stretch the historical norms that have determined how dance is transmitted.

Deborah Hay

solo adaptations

*Two solo adaptations will be performed each night

Ding

The Ridge

Wax on Paper (35-love)

Next

The Pitcher

Wally Cardona

Deborah Hay

Mark Lorimer

Chrysa Parkinson

Ros Warby

::approximate time for each solo is 25 minutes::

Project manager: Michèle Steinwald, The Deborah Hay Dance Company

Stage Manager: Joanna Friesen

Costume design for Ms. Hay by Susan Norwood

Hat design for Ms. Warby by Dana Pinkham

The Match was made possible in part with funds from the Danspace Project’s 2003-04 Commissioning Initiative with support from The Andrew W. Mellon Foundation. The Match was created during a residency provided by The Joyce Theater Foundation, New York City, with major support from the Andrew W. Mellon Foundation. Individual contributions to The Match were provided by: Susan Rothenberg and Bruce Nauman, Metis Policano, William P. Nemir, Will Dibrell and Beverly Bajema, Phyllis and George A. Finley, III, Susan L. Foster, Diana Prechter, Barry and Lorrie Goldensohn, Barbara B. Miller Communications, Janis Porter, Julia M. Wilkinson, Judith B. Bailey, Sherry Smith, Mark Holzbach and Dana Friis-Hansen, Randy and Cathy Lusk, Brett Vapnek, Roberta L. Wood-Hughes, CPA, Mary DiSanto Rose, Deborah Anne Carroll and John M. Slatin, Karen Kuykendall, Johanna Smith, Joanne Trubitt, Susan M. Cassano, Karen Bernstein, Meta Butler Hunt, KA Ridley, Nancy Wilson Scanlan, Jack G. Brannon Jr, Annette Carlozzi, Ross Baldick, J. Robert Wills, Emily Little Architects, Inc, Kris Wheeler, Shawn Womack, David Ramert & Carlos O’Docharty, David B. West, Mary Bender, Betty Sue Flowers, Pfizer Foundation Matching Gifts, Ms. Leigh Dean, Robyn Turner, Mary Peterson Reich, Harlen and Judith Chapman, Nina Martin, Janet Staiger, Karen H. Schaffman, Emily Stone, George Russell,

Thank you to Stephen Kocen for studio space for Deborah Hay’s solo practice in Austin, Texas, Rino Pizzi for his impeccable point of view and artistic support, Andee Scott, Beverly Bajema, Will Dibrell, Emily Little, Diana Prechter, Phyllis Finley, Claudia Boles, Sherry Smith, John Slatin, Anna Carroll, Ellen Spiro, and Mark Holzbach.

To learn more about Deborah Hay’sSolo Performance Commissioning Project
from August 31 through September 10, 2005, in Scotland, please contact Gill Clarke, gclarke@easynet.co.uk or Deborah Hay at deborahhay@aol.com

tHE MAtCH	and	sOLO AdaptatiOns
PROGRAM (eu)

What if the potential to perceive all time as unique and original, is not a theme, or movement style, or goal, but a frame for the performers to weave their bodily intelligence through a choreographed melange of notable and hidden metaphors for The Match? Deborah Hay
the match
Deborah Hay choreographer and director Ros Warby, Wally Cardona, Mark Lorimer, and Chrysa Parkinson performers Jennifer Tipton lighting ::approximate time 50 minutes:
----------INTERMISSION----------
Following the New York premiere at Danspace in February 2004, each dancer began a solo adaptation of the quartet. Sensations, memories, fragments, and details from The Match are embedded in the solo adaptations. A daily practice of the performance of the solo, by each dancer, was the method by which the adaptation becomes a collaboration rather than a bodily reenactment of already existing material. This process represents an effort to stretch the historical norms that have determined how dance is transmitted. Deborah Hay
solo adaptations
**Two solo adaptations will be performed each night*
Ding The Ridge Wax on Paper (35-love) Next The Pitcher	Wally Cardona Deborah Hay Mark Lorimer Chrysa Parkinson Ros Warby
::approximate time for each solo is 25 minutes::
Project manager: Michèle Steinwald, The Deborah Hay Dance Company Stage Manager: Joanna Friesen Costume design for Ms. Hay by Susan Norwood Hat design for Ms. Warby by Dana Pinkham
The Match was made possible in part with funds from the Danspace Project’s 2003-04 Commissioning Initiative with support from The Andrew W. Mellon Foundation. The Match was created during a residency provided by The Joyce Theater Foundation, New York City, with major support from the Andrew W. Mellon Foundation. Individual contributions to The Match were provided by: Susan Rothenberg and Bruce Nauman, Metis Policano, William P. Nemir, Will Dibrell and Beverly Bajema, Phyllis and George A. Finley, III, Susan L. Foster, Diana Prechter, Barry and Lorrie Goldensohn, Barbara B. Miller Communications, Janis Porter, Julia M. Wilkinson, Judith B. Bailey, Sherry Smith, Mark Holzbach and Dana Friis-Hansen, Randy and Cathy Lusk, Brett Vapnek, Roberta L. Wood-Hughes, CPA, Mary DiSanto Rose, Deborah Anne Carroll and John M. Slatin, Karen Kuykendall, Johanna Smith, Joanne Trubitt, Susan M. Cassano, Karen Bernstein, Meta Butler Hunt, KA Ridley, Nancy Wilson Scanlan, Jack G. Brannon Jr, Annette Carlozzi, Ross Baldick, J. Robert Wills, Emily Little Architects, Inc, Kris Wheeler, Shawn Womack, David Ramert & Carlos O’Docharty, David B. West, Mary Bender, Betty Sue Flowers, Pfizer Foundation Matching Gifts, Ms. Leigh Dean, Robyn Turner, Mary Peterson Reich, Harlen and Judith Chapman, Nina Martin, Janet Staiger, Karen H. Schaffman, Emily Stone, George Russell, Thank you to Stephen Kocen for studio space for Deborah Hay’s solo practice in Austin, Texas, Rino Pizzi for his impeccable point of view and artistic support, Andee Scott, Beverly Bajema, Will Dibrell, Emily Little, Diana Prechter, Phyllis Finley, Claudia Boles, Sherry Smith, John Slatin, Anna Carroll, Ellen Spiro, and Mark Holzbach.
To learn more about Deborah Hay’sSolo Performance Commissioning Project from August 31 through September 10, 2005, in Scotland, please contact Gill Clarke, gclarke@easynet.co.uk or Deborah Hay at deborahhay@aol.com

To learn more about Deborah Hay’sSolo Performance Commissioning Project from August 31 through September 10, 2005, in Scotland, please contact Gill Clarke, gclarke@easynet.co.uk or Deborah Hay at deborahhay@aol.com

To learn more about Deborah Hay’sSolo Performance Commissioning Project
from August 31 through September 10, 2005, in Scotland, please contact Gill Clarke, gclarke@easynet.co.uk or Deborah Hay at deborahhay@aol.com