AUDIAanderson3 - Jerome Joy website

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!!1974-75 — Duets on Ice ---- — — ''1974 — Five NYC Street locations, New York'' — — ''1975 — Genoa (Gênes), Italy (Organizzazione Ida Gianelli / Samangallery)'' \|t \|t {br}{br}{br}[../files/articles/anderson/1974_duets_nyc1_500.jpg\|../files/articles/anderson/1974_duets_nyc1.jpg]{br}{small}New York, 1974{/small}{br}{br}{br}{br}\|t \|t \|t \|t \|t — Dans ''Duets on Ice'', œuvre/performance qu'elle réalise dans les rues bruyantes de New York, puis l'année suivante dans les ruelles étroites de Gênes, chaussant des patins à glace pris dans des blocs de glace, elle joue seule en duo avec un violon modifié qu'elle décrit comme un « faux ventriloque » : la musique qui en sort est à la fois jouée par son jeu sur les cordes avec l'archet et par un enregistrement diffusé à l'intérieur de son violon via un haut-parleur qui y est ajusté. Juchée sur des patins préalablement immobilisés dans un bloc de glace et, lorsque celle-ci est complètement fondue, elle perd l’équilibre et le morceau est terminé : c'est ainsi qu'elle gère la durée de la performance. La performance prend fin lorsque la glace est fondue. Tout en jouant avec son violon, elle parle, elle parle entre les chansons, parle de l'acte de patiner, de l'acte de jouer du violon, par de l'équilibre entre les deux actions, évoque le souvenir de canards cancanant palmes figées dans la glace et secouant incessamment leurs ailes plus ou moins gelées, etc. — {small}(selon des extraits de Arnaud Labelle-Rojoux, L'Acte pour l'Art, Éd. Al Dante, 2004){br}{br}{br}---- — — — — ''In this performance Anderson played the ''Self-Playing Violin'' in various outdoor locations at four different locations on sidewalks, in New York. Standing on ice skates, she played a violin that contained a buit-in speaker (the ''Self-Playing Violin''). The pre-recorded music is a loop without a beginning or an end ; wired to a hidden tape recorder, the violin could produce pre-recorded sound and melodies as well as live music. Different performances featured cowboy songs and classical pieces by other performers who became unknowing collaborators. In this way, Anderson was able to perform a duet with herself. So she wore a pair of ice skates with their blades frozen and embedded into blocks of ice, so that when the ice melted the concert was over. In Interview (August 1998), Laurie Anderson described this approach: “I always light performances so I can see people really well in the audience. That’s how I learn what to cut out, what to change.” As she sawed away, she explained to her audience the parallels in balance between skating and fiddling. More than a simple Dada-type escapade, ''Duets on Ice'' revealed a number of central features in Anderson’s ethos - notably a deep concern with performance time and objects. Possibly influenced by her storytelling and teaching experiences, Anderson tries to keep the length of her performances within set limits, usually less than 60 or 75 minutes. In ''Duets on Ice'', the melting of the ice (when she lost her balance) regulated the performance time in an obvious, graphic fashion.'' — {small}(Mel Gordon, In Judith Tick, Paul Beaudoin, Music in the USA: A Documentary Companion, Oxford University Press, 2008, p. 737){/small}{br}{br}{br}---- — — — — ''"Pre-recorded violin pieces were played through a speaker inside the violin. The violin was simultaneously played live. The pre-recorded piece was a loop, it didn’t have a beginning or an end. I needed a timing mechanism, a way to express duration. So I wore a pair of ice skates with their blades frozen into blocks of ice so that when the ice melted and I lost my balance the concert was over.{br}Sometimes in Genoa I would stop playing for a moment and make a dedication in my beginner’s Italian to the people who were standing around and listening. I said that I was playing these songs in memory of my grandmother because on the day she died I walked out onto a frozen lake ; there were a lot of ducks honking and flapping their wings. I got very close to them and they didn’t fly away. Then I saw that they couldn’t move because their feet had been frozen into the new layer of ice. One man who heard me tell this story was explaining to newcomers, “She’s playing this music because once she and her grandmother were frozen together in a lake.”"'' — {small}(Laurie Anderson){/small} \| \|t {small}Genoa / Gênes / Genova, Italy, 1975 - Photos by Bob Bielecki.{/small}{br}{br}[../files/articles/anderson/1974_duets_genoa1_500.jpg\|../files/articles/anderson/1974_duets_genoa1.jpg]{br}{br}[../files/articles/anderson/1974_duets_genoa2_500.jpg\|../files/articles/anderson/1974_duets_genoa2.jpg]{br}{br}[../files/articles/anderson/1974_duets_2013.jpg]{br}{small}Laurie Anderson performs on ice as part of the Adelaide Festival 2013. Photo by Catherine Zengerer.{/small}\|t \|t \|t \|t \|t \|t \|t {br}{br}[../files/articles/anderson/1974_duets_genoa4_500.jpg\|../files/articles/anderson/1974_duets_genoa4.jpg]{br}{br}[../files/articles/anderson/1974_duets_genoa3_500.jpg\|../files/articles/anderson/1974_duets_genoa3.jpg]{br}{br}[../files/articles/anderson/1974_duets_2011_500.jpg\|../files/articles/anderson/1974_duets_2011.jpg]\| {br}{br} {br}{br}
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