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. To accomplish this, she created a score by combining simple choreographic sequences that featured walking as a basic motif. Each performer assumed passive and active poses in turn, strolling around or rolling on carts steered by means of remote-control devices. The carts could also be presented as independent objects endowed with freedom of movement—in this respect somewhat like the performers’ bodies. A series of instructions given to the dancers and cart drivers made it possible to determine the circumstances in which specific choreographic sequences would occur, as well as the shape they would take.