Deborah Hay

  • Deborah Hay

    WHEN CHOREOGRAPHER and teacher Robert Dunn proposed an assignment to the dancers who became the Judson Dance Theater (of which I was one)—and because all I knew at the time was how to be a good student—I dutifully completed it, whereas I never understood how Yvonne Rainer’s or Steve Paxton’s responses had anything at all to do with Dunn’s assignment. They were more interested in breaking or challenging instructions and direction, and perhaps, more importantly, they were exploring their own aesthetics. I did not know aesthetics from a hole in the head.

    Yvonne’s dances were very different