New York

Laurie Anderson

Neil Simon Theater

In her latest piece, The Nerve Bible, 1995, Laurie Anderson logs into the remotest regions of terra firma and cyberspace, restaging the puckish persona of Home of the Brave, 1985. Broadcasting aphorisms about time, history, and especially mortality, Anderson prances among the simulated girders of her stage set (which at one point resemble an industrial-age Stonehenge) or creates her own mischievous, biomechanical semaphore: she flicks a wrist and we get her voice mail; computers beep, Anderson’s heart beats.

The title of her piece refers to the human body itself, oddly morphed through Anderson’s vocal distortions or rendered grotesque as the screen splits it in half. Tapping into our anxieties about exploring the brave, new, hyperreal world, Anderson reminds us that we can still stub our toes in virtual reality. (After all, as she tells us, the human eye makes a lousy camera-there’s no zoom

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