ABSTRACT
The I Ching, an ancient Chinese book consisting of sixty-four oracles, was the single source of guidance to which the author referred for choreographic direction before the start of her four-month workshop, Playing Awake, 1995. Each solo contained moments of eccentric and moving material. The combination of heads and tails determines which of sixty-four oracular messages one consults. The word “adaptation” had never crossed the threshold of what the author believed was her vastly inclusive artist’s consciousness. The implementation of “adaptation” was not without its cost. Two different performers told the story at different intervals. Not being skilled in dramatic arts, they found it difficult to pronounce “looting” without over-articulating it. It being the last word in the story further compounded its troubling pronunciation: “looting” became the focus of the story.
