This workshop offers students of all levels an array of options for creating performances using compositional scores: maps, blueprints, games, and other structures which typically focus the artist on the creative process and produce art reflecting its (experimental) origins. This approach has a rich history: Dadaists and Surrealists of the early 20th century, and experimental choreographers, theater/performance artists, composers, writers, and visual artists, since the early 1960s, have developed strategies and practices challenging Western art-making traditions, focusing attention on compositional structure and its relationship to how a piece makes meaning. In this workshop, we will explore and activate some of the processes employed by these practitioners, making dances, music, and other performance forms. The emphasis will be on those processes that move the artist from ideas through actions. Some of these processes, which precede the performance, may involve scores that result in set or pre-determined material. Others carry the unpredictable possibilities of the “open score” into the performance itself. We will experiment with a range of models for building scores and structures, including chance operations, indeterminacy, improvisation, and works derived from images, objects, intuition, and memory. We will view live and recorded performances; we will support our studio practice with readings by artists and scholars: critical, theoretical, reflective, and historical writings emerging from multiple artistic and academic disciplines. Sources may include John Cage, Yvonne Rainer, Merce Cunningham, Sally Banes, Richard Kostelanetz, Lawrence Halprin, Allan Kaprow, Steve Paxton, Joan Jonas, Simone Forti, Raymond Queneau and Georges Perec/OuLiPo.