Content area
Full Text
Anderson, Laurie. Stories from the Nerve Bible: A Retrospective 1972-1992. Performed at the Lied Arts Center, Lawrence Kansas, March 29, 1994.
1.
Performance theorist Philip Auslander has argued that whatever theoretical or empirical value finally attaches to the term "postmodernism," the contemporary performance artists that we call postmodern share a certain critical distance from modernism and are able to historicize the contemporary "in the Brechtian sense of getting some distance on the world we live in and thus gaining a better understanding of it." 1 Gaining distance from the world of late capitalistic America seems indeed to be the focus of Laurie Anderson's new performance piece currently touring the United States and Canada. The work is ostensibly to promote Anderson's book Stories from the Nerve Bible: A Retrospective 1972-1992, but it more importantly offers a contextualization of Anderson's art from the early 1970s up to current day. The event details the growth of Anderson as an artist from her rougher beginnings like the song "Walk the Dog" to her more polished performance pieces from Empty Places.
2.
The show is a work in progress and it may change from venue to venue as it tours the country over the next few months. This review is being based on the March 29th performance at the Lied Center in Lawrence, Kansas. Though Lawrence seems an unlikely venue for an Anderson performance (she generally sticks to larger, more urban areas), she frequents this small, Midwestern town for the sake of her friend and artistic mentor William S. Burroughs, a local resident who was in attendance at the Lawrence show.
3.
The evening is rather brief--a little over one hour. The performance consists of Anderson sitting in front of a keyboard with two microphones (one is processed and the other isn't) and a large sound board to her right. Underneath the sound board lies a DAT machine which plays the underscoring of Anderson's readings from a collection of pages in front of her.
4.
This is the most intimate Anderson to date. The mise-en-scene has been stripped to its bare technical bones. The videoscreens, lasers, techno-gadgetry, and spectacle wizardry are gone. Lighting effects consist mainly of gel changes and primarily only light her well enough to be seen....