- SCHNEEMANN Carolee, Glass Enviroment for Sound and Motion, NYC, Living Theatre, 1/05/1962, avec Philip Corner, Judy Ratner, Yvonne Rainer, Malcom Goldstein, Arlene Rothlein, Andre Cadet.
« An evening of performance at The Living Theatre was organized by Philip Corner and Dick Higgins. Philip invited me to take part, to explore movement, sound and visual conjonctions. My concept was that the environment would determine, and at the same time transformand integrate any action or gesture of performers and audience: an enlarged « collage », to break up solid forms, frames, fixed conventions ou comprehensible planes, the procenium stage and the separation of audience and performer.
« I collaged the stage with brocken glass: mirror glass, safety glass, fused lumps of glass drilled and hung in clusters in varying planes across the stage. Shards and clusters of glass, some shouded, some visible, were set so performers would produce sounds by striking against them as they moved. Large broken mirrors were positioned to reflect and refract portions of the performers’ bodies.
« My instructions were intended to allow everyone to find and develop personal motivations by immediate contact with materials and each other. Philip collaborated on the sound « score », extending his « soft Materials » sound piece, which also accurred between the other events on stage, into the anteroom during intermission. Malcom was a free agent, moving from stage to audience and back, playing a violin. I worked three high-powered flashlights both from the stage and the audience area, bouncing light through the performer’s motions into the mirrors and into the eyes of the audience – drawing with light. » (see Carolee Schneemann, More Than Meat Joy, Documentext, McPherson & Co., NYC, p. 21)