Samuel Beckett. Not I. 1973, 10’
Charlemagne Palestine. Body Music I.1973-1975, 13’
Vito Acconci. Open Book. 1974, 10’09”
Meredith Monk and Robert Withers. 16 Millimeter Earrings . 1966-1979, 25’
Laurie Anderson. O Superman. 1981, 8’30”
Trisha Brown and Jonathan Demme. Accumulation with Talking Plus Watermotor. 1985, 10’12”
Anything classical ballet and modern dance have in common rose to the fore well into the 1960s when both disciplines worked from a concept of the silent body. Nevertheless, the revolution of forms and concerns that would emerge in these years contributed to bodies being heard, not just because of their movement on the floorboards, but also for letting their voice, and with it their language, be heard. Although it was in the Judson environment where this happened for the first time, for instance in some of Trisha Brown’s first pieces, it would become more pronounced in works where the performer’s voice was directly blended into the music, as in the work of Meredith Monk. Here the results were confused with what the experimental artists and musicians from the time, such as Vito Acconci and Charlemagne Palestine, experimented with in their video pieces, which would also have heavy repercussions on certain artists from the next generation, like Laurie Anderson. In their works we hear an acousmatic voice, which becomes independent from the body and speaks from an unknown space, the same space as the voice which, foreshadowing this journey, comes out of a bodiless mouth in certain adaptations of Samuel Beckett’s works for television. This disembodiment would define one of the most significant approaches in the years that followed.