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online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/bb47ccf9-fd70-4dab-9347-3b4987e65c25/SWL-Cunnigham%283-86%29box7cont.-40.jpeg https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/d35b2c02-a3b1-44df-bfde-62253c3bc121/SWL-Cunnigham%283-86%29box7cont.-51.jpeg https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/454810b9-385b-4bef-9e14-92fd94d58ca7/SWL-Cunnigham%283-86%29box7cont.-76.jpeg https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/f3312ba3-e198-42f9-a4e5-85c88b88677d/SWL-Cunnigham%283-86%29box7cont.-70.jpeg https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/7594b600-2897-4c87-865e-96fd96ce4c97/SWL-Cunnigham%283-86%29box7cont.-69.jpeg https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/74a5aaec-6d69-44e4-8096-346a75431b94/SWL-Cunnigham%283-86%29box7cont.-169.jpeg https://archive.timeandspace.org/timeline daily 0.75 2026-01-14 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https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592586174494-7F7U7FRN0I9RUJ7WGJF9/Danton_LaMama10.jpg Archive - Danton's Death (1981) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592756955325-KZOILOB4UK2GOKN5852G/Danton-TPublicity-%2879%29box11-27.jpg Archive - Danton's Death (1981) - 1979 Previews at TSL Storefront, NYC https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592757020408-H93W3HI1LN7GLRB4ZRJI/Danton-Toronto-%284-80%29box11-27.jpg Archive - Danton's Death (1981) - 1980 Toronto Free Theater, Canada “The Revolutionists’ rhetoric is treated as rhetoric, and percussion, pipes, vocal accompaniments and echoes take precedence. Danton even plays violin… A theatre sequence, a shadow-play and the resounding Convention chamber — sketched in by deployment of ropes, slender wands and the interplay of spotlights…” —Herbert Whittaker, The Globe and Mail performers: Paul Peeling, Shelly Beach, Claudia Bruce, Tony Zanetta, Betty LaRoe, James Howley, Nancy McDonald https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592759569581-R40ED0FKYU6CG3NWGTB7/Danton-LaMama-%282-81%29box11-221.jpg Archive - Danton's Death (1981) - 1981 La Mama Annex, NYC music composed by Dan Erkkila performers: Claudia Bruce, Bill Christ, Jeannine Haas, Ron King, Betty LaRoe, Marc Murray, Ron Nakahara, Ann Shea, Jim Bering, Richard Toma musicians: Dan Erkkila, Paul Glasso, Guy Klucevsek, Michael Sirotta stage manager: John A. Jewell set designer: Jun Maeda costumes & lights: Linda Mussmann https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592755094943-9LZBM2WQ1BXGBEP12FVM/Danton-LaMama-%282-81%29box11-82.jpg Archive - Danton's Death (1981) “Jun Maeda’s gargantuan environment is a rustic tinker-toy palace of rough-hewn poles which also resembles a sailing vessel (Büchner’s Ship of the Revolution?). The floor is covered with wrinkled white canvas, on which the performers gambol in tightly orchestrated movements or writhe in stylized agony. Canister lights are raised and lowered by the actors, who are uniformly dressed in white, modified-Mao costume which economically suggest in turn aristocratic elegance or the practical plebeianism of the sans-culottes.” — Roderick Mason Faber, The Village Voice https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592761900489-XPZ0ZOD82LH8ADB916L9/Danton-Whitney%284-90%29box9-14.jpg Archive - Danton's Death (1981) Semih Fırıncıoğlu and Claudia Bruce, Whitney Museum of American Art 1990 https://archive.timeandspace.org/timeline/is-the-dialogue-read monthly 0.5 2021-06-10 https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1623352581576-QIPUF24L8HH2YWOQ5OHX/dialogue2.jpg Archive - Is The Dialogue Read (1983) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1623353302757-3CL8Z1RKQ9LR4MQPT1NL/ITDR11.png Archive - Is The Dialogue Read (1983) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1623353327678-HRWIJFDG3J8YE4WS5ZNU/ITDR26.png Archive - Is The Dialogue Read (1983) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1623353131802-5MAN2S5O73O04AEUDUEP/ITDR12.png Archive - Is The Dialogue Read (1983) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1623353274112-ARSPC0FMW8SZXKHOAMYR/ITDR25.png Archive - Is The Dialogue Read (1983) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1623354716461-9RU6B8E2LKN94A29ZS1S/ITDR27.png Archive - Is The Dialogue Read (1983) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1623354447087-VPBGAUCLUMNI43JYLN15/isthedialoguereadcards005.jpg Archive - Is The Dialogue Read (1983) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1623354467710-BCRS94CZZDH4BHFOEFUN/isthedialoguereadcards008+copy.jpg Archive - Is The Dialogue Read (1983) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1623354495451-R6NQLWIV05R7L549NPHT/isthedialoguereadcards009.jpg Archive - Is The Dialogue Read (1983) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1623354939507-UO5A5KZBIYAPZMAAA3R1/Chair+Throw+Horizontal.jpg Archive - Is The Dialogue Read (1983) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://archive.timeandspace.org/timeline/films monthly 0.5 2026-01-14 https://archive.timeandspace.org/timeline/blindintime monthly 0.5 2020-06-28 https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766326892-TPXTENW37OD5COYLD2C1/BIT+-+TSL+01%3A01004.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766347576-AZFXPIX1QTN0RG9NSDVO/BIT+-+LaMama+RNoda-013.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766325789-P9VXVL9YRU16LV1QV1TZ/BIT+-+TSL+01%3A01007.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766354656-XOIY40D3UBEA5LUMT22E/BIT+-+LaMama+RNoda-032.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766351552-X6VLAR9TYIODFDAZC8OA/BIT+-+LaMama+RNoda-034.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766355306-UXLOS585KJFRG5OIGVAY/BIT+-+LaMama+RNoda-130.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766336299-TG7SN198RPH8BKILGCHQ/BIT+-+TSL+01%3A01058.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766336118-IQZGO6UMP3YQDDBL8CD4/BIT+-+TSL+01%3A01086.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766344885-P9LNAVNC6SB59PYGY60H/BIT+-+TSL+01%3A01094.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766348563-UFYKM989SORQK09ZVXQ6/BIT+-+First+Try%3A001.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766342329-MQ9D0I30L9L5CITXOFFO/BIT+-+TSL+01%3A01095.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766355303-W8B1S48SKY883YYX0BO5/BIT+-+First+Try%3A002.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766344126-UDEDHVBTB54MUW3DPCNR/BIT+-+TSL+01%3A01097.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766346156-HSRVPWH4WPCCHMAADP14/BIT+-+TSL+01%3A01002.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766345448-NKY7PIBORDUK1XWMDTL4/BIT+-+TSL+01%3A01100.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/a33b298e-1e48-4406-863b-c314153e97f2/ClaudiaBruceBlindInTime.jpg Archive - Blind in Time (2001) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1593017994319-QUO3OAUGP9AC8A93H5LD/BIT+-+First+Try%3A010.jpg Archive - Blind in Time (2001) - Ray Mark Rinaldi, The New York Times: “Blind in Time (the title refers to a statement by Gandhi that an eye for an eye makes the whole world blind) traces America’s history over the last 40 years, linking ‘remembrance points’… The timeline follows the country as it goes from what Dwight Eisenhower described as a culture of tinkerers and basement inventors to a society of multinational corporations and high-tech entrepreneurs. … The story of her own political and sexual awakening in tiny Lowell, Indiana, is woven into the piece, offering personal testimony about how big-business culture can pressure individuals to follow the rules while leaving behind those who cannot.” https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766347576-AZFXPIX1QTN0RG9NSDVO/BIT+-+LaMama+RNoda-013.jpg Archive - Blind in Time (2001) “Underscoring the words is Time & Space’s trademark visual display. As Bruce, the sole actor, says her lines and sings original songs on the piano, her barely visible co-performer, Mussmann, works the controls on three video projectors, five television monitors, and two live cameras. The play makes its points by juxtaposing projected images of confident historical figures — a gaining Nikita Khrushchev, a heroic Alan Shepard — against oral tales of the author’s efforts to find her own nonconformist way. Despite the mostly cheerful projections, there is a sense that all is not well with the world.” https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592766485257-INOR1UILI6DVCX555D03/BIT+-+TSL+01%3A01015.jpg Archive - Blind in Time (2001) - Linda Mussmann, quoted in The New York Times: “You spend your whole life reflecting, whether you think you’re reflecting or not. The things you remember haunt you forever.” “This is about my own journey. I’ve come to the conclusion that there is no place to go without a fight.” https://archive.timeandspace.org/timeline/crosswaycross monthly 0.5 2020-06-28 https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/431a1ca2-bd5c-43e5-8586-89e93a3c8d6b/CWC-+Stage+movements001.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592161759553-JROEWM5O6KHLVK7JTKZD/CrossWayCross_B%26Wimage2.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592161803599-4TW78D7OZU8NS07KBQAD/CrossWayCross_B%26Wimage3.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592161839722-AP8BCJQ9RFYWLELJW5WP/CrossWayCross_B%26Wimage4.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592161757348-XIQKBJPF2V8FXB60KB43/CrossWayCross_B%26Wimage5copy.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592161802090-KECDYK07QUGHG6OPWYDJ/CrossWayCross_B%26Wimage6.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592161827377-RFNI81625CT5OU1UIMJX/CrossWayCross_B%26Wimage7.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592161837791-MTXDZQMBD7TO624TGOZ6/CrossWayCross_B%26Wimage13.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592161843607-SBX51UIHBEPP0XNRUPIX/CrossWayCross_B%26Wimage17.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/186e80f7-0b80-44ad-813c-6e62340d5ba0/CWC-+Stage+Notes001.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592161845240-IM1500I19DK1ZN5VW34O/CrossWayCross_B%26Wimage18+2.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592161848986-93EQHWILZWZ7VQL2Z7B4/CrossWayCross_B%26Wimage19.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592161870461-E4ELG6521M7XQDUN805H/CrossWayCross_B%26Wimage22.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592161873926-I7GUUNMJZC6U2DQD3GEF/CrossWayCross_B%26Wimage20.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/54d60577-9518-41ee-9f7e-4b7d89c8c9c6/CWC-+Stage+Notes01A.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/fd652225-a50e-43a7-ab88-1b0d2d607f62/CWC-+Stage+Notes002.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/8543f48e-bb55-4029-b552-4be118ba2c6c/CWC-+Stage+Notes003.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/e703d0f3-ed1d-49a4-9e7c-978471a2bbf7/CWC-+Stage+Notes03A.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/45f1a37b-7ffe-4351-bba5-207cab999c7e/CWC-+Stage+Notes03B.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/4ee98495-7ce5-41ac-9163-28ad9607b27a/CWC-+Stage+Notes004.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/cbc4593a-0034-40c6-a31f-8fcf3484fb2e/CWC-+Stage+Notes005.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/ab38dc84-00c4-4aba-974b-f532f1c40b10/CWC-+Stage+notes006.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/4028664d-4901-4eab-bd17-f37e025842e7/CWC-+Stage+notes016.jpg Archive - Cross Way Cross (1987) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592162354670-GQVCH78PSM6I1LBJKAV1/CrossWayCross_color_image33.jpg Archive - Cross Way Cross (1987) - Rebecca Schneider, Performing Remains: Art and War in Times of Theatrical Reenactment “In Cross Way Cross, the woman ‘She’ is traveling south. The stage is the street – the road to Waycross, the ‘city of dreams.’ ‘She’ drives down the stage in a Lincoln continental (a large table center stage behind which she sits), listening and singing ‘The Radddioooo is [. . .] ON!’ While there is no mention of physical resemblance as the driving force behind her becoming Lincoln […], nevertheless she does become Lincoln himself in the course of the play, while simultaneously remaining ‘She.” https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1592162046862-9ENC2FLHU9X17FSDNGXN/Cross+Way+Cross+3%3A87+%28box+12%2C+slide+213%29.jpg Archive - Cross Way Cross (1987) - Linda Mussmann, in her notes accompanying the play’s publication in Women and Performance “This production has to achieve a balance between a bad history-play and its parody, between a vaudevillian entertainment and a serious poetic lyricism, between being a contemplation on the passing of time and a reduction of historical chronology to simple, mechanical repetition. Although the structure is somewhat non-linear, the flow is based on formal juxtapositions and ‘cross-overs’ of separate lines (mainly of the travels of Lincoln with those of ‘She’).” https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1636051011443-G20KD77MQUE49H3FPS1K/CrossWayCross_Marymount_box12-Slide93.jpg Archive - Cross Way Cross (1987) - Jack Anderson, The New York Times: “(Bruce’s) exuberant vocalisms and arm gestures beautifully conveyed the euphoria that motorists can feel when they are speeding along with their car radios booming… Then, metaphorically speaking, the past crashed into the present as the text mentioned a motorist who, to avoid a chicken crossing the road, accidentally hit a tree.” https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1636053146866-AHNRMSLS5N2TGHJNNHO4/Crossw.Cross_Postcard_front.jpg Archive - Cross Way Cross (1987) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://archive.timeandspace.org/timeline/lenz monthly 0.5 2020-06-28 https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591381065439-S8SJBWWJPBG4P0V68D1N/Lenz_Image9.jpg Archive - Lenz (1981) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591381593013-5B9FU249PXHAYNIMKUL1/Lenz_Image17.jpg Archive - Lenz (1981) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591381611570-MIPQTMU67O7X47SJ96S2/Lenz_Image30.jpg Archive - Lenz (1981) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591381630458-6HVKPTRTVJO66KV4YXU3/Lenz_Image31.jpg Archive - Lenz (1981) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591381686915-SXZIHU2ZF4RBYCKKGEB3/Lenz_Image32%2Bcopy.jpg Archive - Lenz (1981) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591381723168-S7QCC8A3LF1EOTES7XF5/Lenz_Image43.jpg Archive - Lenz (1981) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591381744448-JDSIDMP9M63XLL3X1VQE/Lenz_Image48%2Bcopy.jpg Archive - Lenz (1981) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591381792419-NEZVVTK0KRAUEA2N1XW9/Lenz_Image64.jpg Archive - Lenz (1981) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591381013989-TBI417EZZ1ZC5ROGT43T/Lenz_Image65.jpg Archive - Lenz (1981) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591381908825-1YKVL8GY0GVSYPYJXIX7/Lenz_Image68.jpg Archive - Lenz (1981) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591381933434-XXE9O21ZIJUDNOV1X5DM/Lenz_Image69.jpg Archive - Lenz (1981) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591381953808-H9VG5GA2M6K3NUK2ST74/Lenz_Image75.jpg Archive - Lenz (1981) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1590164612195-G3ZBAMRQE1NF3SH4OHBG/Lenz-blackfloor2-81-10.jpg Archive - Lenz (1981) - Linda Mussmann, WGXC Radio 2013 “In 1980, I had seen a performance of Schoenberg’s Pierrot Lunaire (1912) at the Guggenheim Museum. This event influenced my thinking about designing for text and I set out to construct my performance pieces using the sprechstimme style. Büchner’s novella Lenz was perfect for this. Lenz was created for Claudia Bruce and her amazing vocal ability. Our storefront performance space was lined with corrugated roofing tin from my mother and father’s barn in Indiana. It had blown off during the second tornado. We hauled it back to New York City in and on-top of our Volkswagen bus. Lining the space with the rusted tin made the space sound cavernous and acted as an amplifier for the performance.” https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1590348528444-ZW7B30LTX1QGD79ROTUI/Lenz%2B-%2BVocal%2BNotations001.jpg Archive - Lenz (1981) - Claudia Bruce, WGXC Radio 2013 “Linda was in the process of looking for ways to present work that would, in a way, destroy the linear aspect of the work so that you could think about the pieces in another way. [This] was in her period where she was designing the texts in tones and ways of moving the voice; up-and-down, in steps, straight across, loud/soft, using all the ways that she could think of to present a text in another way. So Lenz was perhaps one of the best ways for her to do this at this point because of the density of the text, and that fact that Semih and I were working on many, many things at the time, and my vocal style and his musical abilities meshed in [what] became a signature piece of Time and Space Limited.” Vocal Notation by Semih Firincioğlu, a method used by Linda and Claudia to sonically score voice and text. https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591805928196-KHCTD7GGNG690I5TCOTO/Lenz+Radio+-+Script025.jpg Archive - Lenz (1981) - Linda Mussmann, WGXC Radio 2013 “In 1981 […] I was deeply engaged with the search for ways that use sounds and particularly the voice as a way of expressing human emotion outside of the meaning of the text. The sound of Claudia’s voice, the way it travels, marks the journey of Lenz. The music supports the voice and the text. Not totally melodic, it’s job is to travel with the voice on this journey of sound. As Lenz travels so does the sound and the voice and the accompaniment. [...] Later, this production was produced by German radio, WDR in Cologne, and was recorded in a sound room especially for radio. Klaus Schöning’s program offered people like Claudia and me a chance to construct work for the radio and for another audience. The radio text was spoken in German and English featuring the vocal design and the music from the original production. WDR also commissioned TSL’s adaptation of another Büchner work, Danton’s Death (1981). These were great opportunities for our work to be heard beyond the New York City audience in the last century.” — Linda Mussmann https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1590939512907-KNF38GYLHGDJUS7M8G3T/Lenz-blackfloordec81_12%2Bcopy.jpg Archive - Lenz (1981) https://archive.timeandspace.org/timeline/macbeth monthly 0.5 2020-06-28 https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591554819601-S9L0PBVE0CVND8PIK7VJ/Macbeth+1990+%40+Hudson+School+%28individual+box%2C+slide+53%29.jpg Archive - M.A.C.B.E.T.H. (1990) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591803101653-W9YZQGBQC78L188LCO6Q/Macbeth+%28small+box%29+Image+401.jpg Archive - M.A.C.B.E.T.H. (1990) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591554816724-WVODSLRCNKNYMPLTKGM4/Macbeth+%28small+box%29+Image+421.jpg Archive - M.A.C.B.E.T.H. (1990) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591802911439-67YILARSGG2QY9E1MGG6/MacbethHudsonSchool7-91-40.jpg Archive - M.A.C.B.E.T.H. (1990) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591803705105-0DKCRPM8ON5H1WAKSQH3/Macbeth-TSL%2891%29smlbox-59.jpg Archive - M.A.C.B.E.T.H. (1990) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591802925845-RJACKEOSVY34ROP078PV/Macbeth+%28small+box%29+Image+418.jpg Archive - M.A.C.B.E.T.H. (1990) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591802931222-6V9EIMZ45GH99PWNW8PU/MacbethStore%3A010.jpg Archive - M.A.C.B.E.T.H. (1990) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591802972631-YP6K4L0TZTP3PSS413FE/MacbethHudsonSchool7-91-55.jpg Archive - M.A.C.B.E.T.H. (1990) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591803054837-FNU2Z2118NE10H5A0DCB/Macbeth+%28small+box%2C+slide+819%29.jpg Archive - M.A.C.B.E.T.H. (1990) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591554823566-POKRAVU6DQ5SZ9EIEVNN/MacbethStore%3A033.jpg Archive - M.A.C.B.E.T.H. (1990) https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1582301679008-MFGBWUVDQ6D58TTIEARO/Macbeth+%28small+box%29+Image+419.jpg Archive - M.A.C.B.E.T.H. (1990) 1990 Cunningham Dance Studio, NYC Connecticut College, New London, CT TSL Studio, NYC Thornes DepARTment, MA Hudson Middle School, NY 1991 Zürich Theater Spektakel, Switzerland 2nd International Forum of Radio Art, MACROPHON-91, Poland Kantor Theater, Krakow, Poland Laboratory Theater, Wroclaw, Poland Contemporary Arts Center, Warsaw, Poland 1992 Center for Contemporary Architecture, Montreal, Canada RPI Playhouse, Troy, NY 1993 TSL WareHouse, Hudson, NY https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1582321710711-S49VQ4BB9U9X0DEZX2RS/Macbeth%2B1990%2B%2540%2BHudson%2BSchool%2B%2528individual%2Bbox%252C%2Bslide%2B47%2529.jpg Archive - M.A.C.B.E.T.H. (1990) - Marilyn French, writing for Ms. Magazine — March 1991 “Claudia Bruce […] is ‘she’ who experiences everything. She speaks to Duncan across a table, offering him food and drink, a good hostess. In a bloody, power-worshiping world, she too wants power but is forever barred from it, and exclaims in furious anguish that the mere possession of balls could make her king. As bombs explode over the sound system, she stands at the mirror, making up her face. Light turns her white robe red, turns her pale hands red; she licks red light from the knife. She becomes a silhouette on a screen. The video screen shows a white bowl filled with what looks like mother’s chicken soup until small stones drop into it, stones in sand. She cries that she is broken. The screen turns her image red; red words scrawl across it: ‘she’s busted.’ Mussmann suggests what it feels like to be Lady Macbeth—the long waiting, the forced inaction: she puts on makeup, makes up her face, waits, holding in the energy, waits, while men storm down hallways, and inspired by bagpipes’ martial music, explode the world. Blood drips on the white plate on the screen; the gallows-tree flickers on the backdrop scrim.” https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591552806293-VEY8EFESQD8DX7NIH5RW/Macbeth+Cunningham+11-9037.jpg Archive - M.A.C.B.E.T.H. (1990) - Linda Mussmann: “It was the early 1990's and the Women's movement was flagging. We were bombing Baghdad...technology had made using video and audio more possible for me to use in my work---I was looking to find a way to make work with just Claudia and myself- since our funds had been cut drastically by the return of the National Endowment funds in 1989---it became increasingly more difficult for us to support a company--the solution was to make a piece for the 2 of us to perform and travel with-- https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591551305755-R3VRZ6HVU33DP88J79MT/MacbethHudsonSchool7-91-52.jpg Archive - M.A.C.B.E.T.H. (1990) - Macbeth is one of my favorite plays--it was the first play I read in high school and remains my favorite. The adaptation that is my favorite is Kurosawa's Throne of Blood with Toshiro Mifune-- and here Lady M. is a Noh character---the opening of this movie is powerful and most scary--Mifune tearing through the woods on horseback....etc. etc. https://images.squarespace-cdn.com/content/v1/5e40751362402c0ce367e5f5/1591551529207-IRB15TKS7Z00DAD5208W/Macbeth%2BCunningham%2B11-9029.jpg Archive - M.A.C.B.E.T.H. (1990) - My thinking about the play is that after Lady Macbeth is gone, the play turns into nothing but endless murder and slaughter--her character holds the play as a counter--without her Macbeth diminishes--she is the center--and after he is killed, the line that is important to me is ‘TIME IS FREE’ '[Re-enter MACDUFF, with MACBETH's head] MACDUFF Hail, king! for so thou art: behold, where stands The usurper's cursed head: the time is free."'