the music at points, and to counter it at others. The two structures were similar but not a true reflection. Childs had the couples on stage during this piece as she feels the couples heighten the spatial relations between the dancers and the audience. Having two dancers on stage versus one opens up and charges the space with energy. The dancers were also accompanied by a film projected on the screen in front of the dancers. The dancers were visible from behind the screen, dancing in sync with the dancers in the film. The film aspect of this collaboration came from Sol LeWiit. In the original staging, the filmed dancers were the same as on stage. In the 2014 remount of Dance (1979), the dancers portrayed in the film are the original dancers, while the live performers have changed. LeWitt filmed the original dancers from various angles. Close-up shots, long shots, and overhead shots were used to create the abstract, almost ghost-like projection. The most frequent way to combine the dancers on stage to those in the film was a horizontal split-level, so the couples on stage were dancing along below the film. For the solo sections, a vertical split was used to show the front and back of the dancer at the same time. Childs describes the use of the projection as the dancers becoming the decor, the scenic element, instead of using a piece of abstract art which was the original suggestion before LeWitt came up with the idea to pair the dancers with a film. THE DAY Childs’ latest work was composed in two parts, composed by David Lang and danced by Wendy Whelan. The cellist, Maya Beiser, sits on stage playing Lang’s music while Whelan dances. The second part of THE DAY (2019), was “The World to Come.” This section of THE DAY (2019) was about the idea of life after death as perceived by the Jewish religion. The piece was started around September 11, 2001, which later informed parts of the piece. Spoken word about the loss experienced at that time overlays the music. The messages were alphabetically arranged in the piece. The piece in its entirety is 30 minutes long with text coming in every six seconds. Childs began choreography in the second part as it was more abstract. Each structure in the first part, with the text, took on a different meaning depending