by Brown’s wish to locate choreography on an inaccessible surface, the gallery’s sixth wall typically used for mobile art’s suspension. She said, “I didn’t want to hang upside down with blood rushing to my head. It was just a way of getting onto the ceiling.”115 Her solution was a voice-recorded sound score: her calm, clinical recitation of a prewritten text, taking listeners on a guided, imagined tour of the United States as a cosmic map, during which she instructed audiences to envision and mentally enact words being moved, tossed, and placed on the ceiling.116
Brown’s idea has several sources: it looks back to Simone Forti’s radical proposition that talking is dance in Halprin’s and Dunn’s workshops. Brown had not seen “the work where Simone Forti read something off a piece of paper and called it a dance,”117 but she had danced an improvisation based on text, in 1963. As part of the YAM Festival, Brown appeared on a May 12–13, 1963, program at the Hardware Theater for Poet’s Playhouse on West Fifty-Fourth Street, presenting 2 Improvisations on the Nuclei for Simone by Jackson Mac Low (1961), a work created for Forti (who had performed it in 1961 at George Maciunas’s short-lived AG Gallery at 925 Madison Avenue).
Figure 3.24 Peter Moore, performance view of Trisha Brown in Two Improvisations on the Nuclei for Simone by Jackson Mac Low (1961), 1963. Photograph © Barbara Moore / Licensed by VAGA, New York, NY. Courtesy of Paula Cooper Gallery, NY
Mac Low typed a series of short texts on 3-by 4-inch index cards, sentences generated by chance procedures to inspire improvisations;118 the cards—what Mac Low referred to as an “action pack”—originated in his play The Marrying Maiden: A Play of Changes (1960), performed by the Living Theater (with music by John Cage). For that event he produced 1,200 cards, instructions for random disruptions of the play’s narrative script. He reduced the number to 108 for Forti, and Brown’s 1963 rendition included only 3 cards.119
Photographer Peter Moore documented Brown’s performance, about which she recalled, “I was in such fear … such dread dread dread … I started out by saying this dance is called Nuclei for Simone Forti. I’m not Simone Forti. Then I combusted somehow, I was sitting on a chair … I got up on it and I was sort of squatting on the … heavy … well-built chair—and I leaned over and I licked the back of the chair,” as is seen in one of a series of Peter Moore’s photographs. Brown continued, “That was insane … It was beautiful, but it scared me to death … because you have nothing to hide behind. And you know the audience is squirming.”120
Figure 3.25 Postcard sent by Earle Brown to Trisha Brown, 1965. Trisha Brown Archive © The Earle Brown Music Foundation
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