9 Evenings: Theatre and Engineering

The 10 performances (October 13-23, 1966)

*John Cage, Variations VII* (performance)** John Cage applied the principle of randomness to select the materials for his performance, but did not use any recorded audio tracks.	*Lucinda Childs, Vehicle* (performance)** In Vehicle, Lucinda Childs drew a parallel between situations that revealed the qualities and limits of each non-static stage element.
*Öyvind Fahlström, Kisses Sweeter than Wine* (performance)** Kisses Sweeter than Wine was a nine-part piece made up of various sketches joined end to end without any narrative continuity.	*Alex Hay, Grass Field* (performance)** Alex Hay structured Grass Field in accordance with three parameters: amplified biological phenomena; monochrome stage elements; robotic performers.
*Deborah Hay, Solo* (performance)** In Solo, Deborah Hay attributed equal time and visual prominence to all the elements of the performance, from the dancers and props to the lighting and soundtrack.	*Steve Paxton, Physical Things* (performance)** Steve Paxton created an environment in which the participants could move around freely, in the process blurring the sharp boundary that normally separates dancers and non-dancers.
*Robert Rauschenberg, Open Score* (performance)** Robert Rauschenberg derived the content of his performance from the characteristics of the performance venue.	*David Tudor, Bandoneon! (a combine)* (performance)** David Tudor put a traditional instrument (the bandoneon) on a circuit with an array of technological components.
*Robert Whitman, Two Holes of Water - 3* (performance)** In Two Holes of Water-3, Robert Whitman juxtaposed the time frames specific to film and video through a theatrical setting.	*Yvonne Rainer, Carriage Discreteness* (performance)** Yvonne Rainer guided both dancers and non-dancers through a series of generic tasks, such as walking and carrying stage props from one point to another.