9G. Performance Score: Five Chairs

• I've made an arrangement of five seating possibilities. One of them is a pillow, one's a low chair. There's a couple of high chairs, and a stool. All different. Five people go and sit at these locations.

• Each of you will assume a being, or entity. Sit in a particular posture, carry a particular energy, have a particular voice and style of speaking. There's something going on with you and you're speaking from a particular situation. You're all in very different worlds and your realities are in high contrast to one another.

• This score has three sections.

• First: In sequence, one by one, take a few minutes to introduce yourselves (not necessarily by name nor directly to the audience), but by bringing us into the middle of your world at this moment.

• • Second section: After you've each introduced yourselves, randomly alternate turns by interrupting each other. Anyone may talk at any time and the talking space is yours until you get interrupted. Each time you speak, pick up where you left off. Continue to develop your monologues without transforming either the form or the content. If you are speaking and you get interrupted, stop speaking, but hold onto the body and intent throughout your pause. Remember, these are monologues, not dialogues. Play with the timing of your interruptions. Don't draw, or bridge content, from each other. You're now collaborating on the musicalify of your interaction. Speak out to the audience.

• • Third section: You may leave your seat and move to another location. If no one's sitting in that chair, you may sit in it. If someone is, then you stand, or kneel, beside them. You assume the same being as who first inhabited that seat, the style of body, the condition of mind, voice and content. If there's more than one of you there, then speak simultaneously. It's possible that all five of you may be hovering around one location, in which case you're all speaking as the same being.

• Continue until I say, "Stop," or I may give you a one minute cue to find an ending.

These five students are collaborating. They are co-designing the whole event, working with how it flows from one experience to another, whether the dynamics rise or flatten, what the voices sound like in relationship, how they dance together as they change location. They do this by listening to each others sounds and sensing each other's movements. They use their instrument (body and voice) to respond to what they perceive. They amuse themselves within the context of each other.

A violin can have a voice. So can a dog, a diamond or water. Anything, if it resonates within a persons spirit, is fair game. Anything can act as vehicle through which the student finds herself. Each entity sitting in each chair is an invitation. The student either accepts the invita­tion, travelling within and beyond herself, or she doesn't. She won't if she hangs onto an idea of who she is. If the student stays with her present body, attends to the details of her experience, and unhesitatingly takes that experience on, she will inhabit dreamtime. Her memory and imagination will collaborate to draw not only from this lifetime, but from all lifetimes and even, from lifetimes before.

Day Ten

The Watcher and the Watched

10A. Follow the Leader, Calling Names

10B. Pebbles in the Pond

IOC. Follow the Leader, Leader Emerging

10D. Pusher/Comeback

10E. Performance Score: Slow Motion Fight

Twenty students arrive between fifteen minutes to the hour and the hour. There's comraderie among them as they talk and exchange their street clothes for personalized tatters. One by one they walk onto the sprung-wood floor and find a place for themselves. Some lie down, some sit, some stand, and some move around the room. Bodies stretch and pull. Groans and moans. Pants, swooshes, gasps. Someone runs around mouthing raucous sounds. A soft, graceful hand floats along a wall. Someone tones, another writhes. However, they do it, each student finds a way to come into themselves, to come home.