Abstract
On January 2015 Judith Malina - the co-founder of Living Theatre with her partner Julian Beck - release one of her last interviews before she dies. In this unpublished interview, Malina is accompanied by Thomas Walker, member of the company since 1971. The matter of the conversation are vocality’s practices and aesthetics, for example the “vocal patterns” as The Chord and Sound and Movement. A recon about “vocal personalities” is also discussed, the latter representing a consistent part of the sonic background of Living Theatre (Antonin Artaud, Alessandro Moissi, Valeska Gert, Maurice Schwartz). Another subject matter consist in examining the use of the voice in the most famous shows of the American company. The conversation is followed by a short note where Living Theatre’s work is contextualized with broader issues, as the concept of method. At the end, the relation between each vocal pattern to another is identified as “disturbance’s voice”.
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