Die Tödliche Doris
«Super-Mom Live Concert Paris 1983, lip-synched in Berlin 1984»

The acoustic distortion and actionistic interventions in the sound recording are mediatized once again in the performance 'Super-Mom': the Paris concert is lip-synched in Berlin, and performers as well as audience simulate their parts. This is the first live lip-synch show with a wig-wearing audience, which must also simulate the applause (by holding up and moving its hands). Die Tödlich Doris thus initiates a spiral of self-reference corresponding to that in video feedback. The serial concept, which increasingly approaches pure white noise with each new 'generation' of performance, is realized in its most extreme form in 'Cavaliers live in Villingen-Schwenningen, live lip-synched in Bonn, live lip-synched in Berlin, live lip-synched in Bruxelles, live lip-synched in S'Hertogenbosch'.

Rudolf Frieling