Laurie Anderson: The Language of the Future Open Rehearsal

• War, conflict, and recent terrorist attacks around the world • The spread of information in today’s digital age • Authors of classical literature (such as Aristophanes) and how their works reflect present-day events • Language and communication • Changes and advancement in technology • Loneliness and isolation

THE ARTIST For more than 30 years, Anderson has remained in the public eye, whether as a singer, instrumentalist, composer, author, photographer, visual artist, poet, filmmaker, or multi-media performer. Known for incorporating technological wizardry into her live performances, Anderson enjoys blurring the lines between dreams and real life for her audiences. Her theatrical projects have appeared on stages around the world, while her visual art has been featured in international museums. Last September, her film, Heart of a Dog, premiered at the Venice Film Festival.

??

?

YOUR QUESTIONS, ANDERSON’S ANSWERS

Plan ahead! Anderson will speak directly with students about which segment of the piece she will be rehearsing. After the rehearsal, Anderson will answer your questions so be sure to prepare them in advance.

David M. Rubenstein Chairman Deborah F. Rutter President Mario R. Rossero Senior Vice President, Education Support is provided by the Laura Pels International Foundation for Theater.

Additional support is provided by Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education.

LAURIE ANDERSON

OPEN REHEARSAL

The Language of the Future

Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

www.artsedge.kennedy-center/org Cuesheets are produced by ArtsEdge, an education program of the Kennedy Center.

Learn more about Education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education but do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government. © 2016 The John F. Kennedy Center for the Performing Arts

Music meets storytelling at the place where the voices of today collide with the ever-changing digital language of tomorrow in a special presentation by artist Laurie Anderson.

PERFORMANCE GUIDE

Though The Language of the Future has no direct message or moral—it purposefully provokes more questions than answers—and the show changes with each performance, the piece might encourage you to consider a few key themes. Here are some topics Anderson has discussed during recent performances and that you may encounter at this presentation:

Cuesheet

THEMES YOU MAY UNCOVER

The Band Sometimes Anderson works alongside a group of professional musicians and, at other times, she performs alone. Though The Language of the Future’s musical setup can change from performance to performance, you’re bound to hear several unusual sounds, including notes from a keyboard synthesizer and an electric violin. You may also hear a few musical bars of previously recorded material called “samplings.”

“If there is something at the heart of all that I do, it’s that it’s good to be free.”

— Laurie Anderson

The Lighting and Set Design Though The Language of the Future may not have a specific set, there are small details that help bring the work to life and give it an otherworldly atmosphere.

Burning candles and lone pieces of furniture may be used to create the illusion of drifting through time and space, while the lights surrounding the stage might change color to indicate a shift in Anderson’s thoughts and feelings as she recites her stories.

WHAT TO WATCH AND LISTEN FOR… • The way the improvised music seems to flow from note to note according to Anderson’s emotions. The songs in today’s rehearsal may or may not have a fixed melody, and the tunes may take you on some unexpected twists and turns.

• How Anderson chooses to interact with her audience. Some of her stories may make you feel like you’re taking part in an intimate conversation. At other

• Anderson’s speaking voice, which she may change or distort so she can assume the roles of different characters in her stories. Her speech may also sound very rhythmic or sing-song-y, as if she were reciting poetry.

• Recordings of other voices. While Anderson does much of the talking in The Language of the Future herself, she may receive a little vocal help from recorded actors. You may even be able to identify some of them by name.

• How this open rehearsal provides a rare glimpse into an artist’s final moments of preparation before a live performance. Watch for possible stops and starts as well as technical adjustments.

lin

The Language of the Future, which can be described as a general meditation on life and humanity, is considered a work of “performance art” (a term with no set definition used to describe any performance that uses new methods of expression and pushes artistic boundaries).

Future uses many different elements to tell several stories and set a variety of moods.

Here are just a few of the pieces that combine to create the whole of Anderson’s unique theatrical “language”:

ic Vi o

Decades later, Anderson takes this freewheeling musical journey one step further with a series of improvised performances collectively titled The Language of the Future, a name taken from a track featured on the United States Live album. At this open rehearsal, you’ll hear a number of stories mixed with spontaneous musical interludes—all designed to make you think about what it means to be alive in today’s world and what lies ahead in tomorrow’s uncertain future.

PARTS OF A WHOLE

Much of the piece focuses on tales Anderson will tell the audience. Some of these stories are inspired by events from her life and may include anecdotes about her dog, Lolabelle, as well as about Anderson’s own experiences as a musician, performer, and human being. Occasionally, you may hear other voices step in to recount additional events.

moments, Anderson may ask you to do something specific like listen carefully or even get involved in international events.

lectr

I

n 1983, musician and experimental artist Laurie Anderson completed a massive, eight-hour-long performance piece and presented it to the world. The freeform work, a theatrical adventure known as United States, explored America’s past, present, and future through narration, technological effects, and song. The popular show was seen by audiences in 16 cities across the globe and led to the recording of a live album.

The Words

The E

About Anderson’s The Language of the Future

The Band Sometimes Anderson works alongside a group of professional musicians and, at other times, she performs alone. Though The Language of the Future’s musical setup can change from performance to performance, you’re bound to hear several unusual sounds, including notes from a keyboard synthesizer and an electric violin. You may also hear a few musical bars of previously recorded material called “samplings.”

“If there is something at the heart of all that I do, it’s that it’s good to be free.”

— Laurie Anderson

The Lighting and Set Design Though The Language of the Future may not have a specific set, there are small details that help bring the work to life and give it an otherworldly atmosphere.

Burning candles and lone pieces of furniture may be used to create the illusion of drifting through time and space, while the lights surrounding the stage might change color to indicate a shift in Anderson’s thoughts and feelings as she recites her stories.

WHAT TO WATCH AND LISTEN FOR… • The way the improvised music seems to flow from note to note according to Anderson’s emotions. The songs in today’s rehearsal may or may not have a fixed melody, and the tunes may take you on some unexpected twists and turns.

• How Anderson chooses to interact with her audience. Some of her stories may make you feel like you’re taking part in an intimate conversation. At other

• Anderson’s speaking voice, which she may change or distort so she can assume the roles of different characters in her stories. Her speech may also sound very rhythmic or sing-song-y, as if she were reciting poetry.

• Recordings of other voices. While Anderson does much of the talking in The Language of the Future herself, she may receive a little vocal help from recorded actors. You may even be able to identify some of them by name.

• How this open rehearsal provides a rare glimpse into an artist’s final moments of preparation before a live performance. Watch for possible stops and starts as well as technical adjustments.

lin

The Language of the Future, which can be described as a general meditation on life and humanity, is considered a work of “performance art” (a term with no set definition used to describe any performance that uses new methods of expression and pushes artistic boundaries).

Future uses many different elements to tell several stories and set a variety of moods.

Here are just a few of the pieces that combine to create the whole of Anderson’s unique theatrical “language”:

ic Vi o

Decades later, Anderson takes this freewheeling musical journey one step further with a series of improvised performances collectively titled The Language of the Future, a name taken from a track featured on the United States Live album. At this open rehearsal, you’ll hear a number of stories mixed with spontaneous musical interludes—all designed to make you think about what it means to be alive in today’s world and what lies ahead in tomorrow’s uncertain future.

PARTS OF A WHOLE

Much of the piece focuses on tales Anderson will tell the audience. Some of these stories are inspired by events from her life and may include anecdotes about her dog, Lolabelle, as well as about Anderson’s own experiences as a musician, performer, and human being. Occasionally, you may hear other voices step in to recount additional events.

moments, Anderson may ask you to do something specific like listen carefully or even get involved in international events.

lectr

I

n 1983, musician and experimental artist Laurie Anderson completed a massive, eight-hour-long performance piece and presented it to the world. The freeform work, a theatrical adventure known as United States, explored America’s past, present, and future through narration, technological effects, and song. The popular show was seen by audiences in 16 cities across the globe and led to the recording of a live album.

The Words

The E

About Anderson’s The Language of the Future

• War, conflict, and recent terrorist attacks around the world • The spread of information in today’s digital age • Authors of classical literature (such as Aristophanes) and how their works reflect present-day events • Language and communication • Changes and advancement in technology • Loneliness and isolation

THE ARTIST For more than 30 years, Anderson has remained in the public eye, whether as a singer, instrumentalist, composer, author, photographer, visual artist, poet, filmmaker, or multi-media performer. Known for incorporating technological wizardry into her live performances, Anderson enjoys blurring the lines between dreams and real life for her audiences. Her theatrical projects have appeared on stages around the world, while her visual art has been featured in international museums. Last September, her film, Heart of a Dog, premiered at the Venice Film Festival.

??

?

YOUR QUESTIONS, ANDERSON’S ANSWERS

Plan ahead! Anderson will speak directly with students about which segment of the piece she will be rehearsing. After the rehearsal, Anderson will answer your questions so be sure to prepare them in advance.

David M. Rubenstein Chairman Deborah F. Rutter President Mario R. Rossero Senior Vice President, Education Support is provided by the Laura Pels International Foundation for Theater.

Additional support is provided by Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education.

LAURIE ANDERSON

OPEN REHEARSAL

The Language of the Future

Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

www.artsedge.kennedy-center/org Cuesheets are produced by ArtsEdge, an education program of the Kennedy Center.

Learn more about Education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education but do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government. © 2016 The John F. Kennedy Center for the Performing Arts

Music meets storytelling at the place where the voices of today collide with the ever-changing digital language of tomorrow in a special presentation by artist Laurie Anderson.

PERFORMANCE GUIDE

Though The Language of the Future has no direct message or moral—it purposefully provokes more questions than answers—and the show changes with each performance, the piece might encourage you to consider a few key themes. Here are some topics Anderson has discussed during recent performances and that you may encounter at this presentation:

Cuesheet

THEMES YOU MAY UNCOVER