david lang

mark dion
anatomy
theater
anatomy
theater

Composed by David Lang

Libretto by Mark Dion and David Lang

featuring (in order of appearance)

Peabody Southwell as SARAH OSBORNE
Marc Kudisch as JOSHUA CROUCH
Robert Osborne as BARON PEEL
Timur as AMBROSE STRANG

International Contemporary Ensemble (ICE)

Christopher Rountree, Conductor

International Contemporary Ensemble (ICE):

Emi Ferguson, flutes; Joshua Rubin, clarinets; Gareth Flowers, trumpet;
Phyllis Chen, accordion, piano; Nathan Davis, percussion; Erica Dicker, violin;
Anne Lanzilotti, viola; Kivie Cahn-Lipman, cello; Randall Zigler, bass
anatomy
theater
01 SCENE 1: The Confession of Sarah Osborne
02 (spoken): “Justice is delivered!”
03 SCENE 2: Good Morrow and Welcome
04 (spoken): “Now, Gentlemen”
05 SCENE 3: Man Seeks to Know
06 (spoken): “Mr. Strang”
07 SCENE 4: Presently I Shall Reveal
08 SCENE 5: The instruments / Where is Evil?
09 SCENE 6: Cut
10 SCENE 7: Gentlemen, We Have Before Us
11 SCENE 8: Clearly / Some Very Strange Light
12 SCENE 9: My Heart
13 SCENE 10: Gentlemen, We Have Yet Failed
14 SCENE 11: Where is Evil (Reprise)
15 SCENE 12: Too Bad The Doctor
Produced, engineered, mixed and mastered by Lawson White
Edited by Lawson White and Alessandra Roubini
Assistant Engineers: Nate Odden, Alessandra Roubini

Recorded at Avatar Studios, Studio C, NY, NY

Mixed and Mastered at Good Child Music Studios, Brooklyn, NY

Commissioned by Beth Morrison Projects, Ridge Theater, Justus & Helen Schlichting, Linda & Stuart Nelson,
Paul King, Marla Mayer & Chris Ahearn. Additional commissioning support provided by BRIC, Nancy & Barry
Sanders and Miles & Joni Benickes. anatomy theater is funded, in part, by an award from The National
Endowment for the Arts – Art Works, and by public funds from The New York City Department of Cultural Affairs
in partnership with the City Council. Additional funding was paovided by the Multi-Arts Production Fund (MAP),
the Francis Goelet Charitable Lead Trusts and New Music USA.

Thanks to: Bob McGrath, Bill Morrison, Laurie Olinder, Beth Morrison, Jecca Barry, Jesse Heffler, Kristin
Marting, Kim Whitener, Christopher Koelsch and everyone at LA Opera and at REDCAT, Rachel Chanoff,
Sue Killam and everyone at Mass MoCA, Christopher Rountree, wild Up, Claire Chase, Joshua Rubin,
Ross Karre and all the great musicians of ICE, Peabody Southwell, Marc Kudisch, Robert Osborne, Timur,
Myungwon Kim at Tanya Bonakdar Gallery, Lawson White, Denise Burt, Amanda Ameer, James Egelhofer,
Colin Manjoney, Kenny Savelson, Philippa Thompson, Tim Thomas, Sruly Lazaros, Mike McCurdy, Brian
Petuch, Bill Murphy, Adam Cuthbert, Michael Gordon, Julia Wolfe and Suzanne Bocanegra.
anatomy theater

No singers were harmed in the creation of this opera.

It seems like an odd statement to make about an entertainment, but it is
definitely appropriate to make it, since our piece is so full of terrifying things.
Crime and punishment, execution, dissection, the thin line that separates
moralistic cruelty from dispassionate scientific inquiry – they are all there.
anatomy theater is an opera of villains. There are no lovers, no
peacemakers, no heroes in shining armor coming to the rescue. All the
characters in our opera are dangerous.
The subject of our opera is a gruesome one – the public dissection of
the body of a murderer, in order to find the physical seat of her moral
corruption. Set loosely in the early years of the 18th century, the opera
mashes up some of the more shockingly pernicious ideas from the history
of medicine. It should come as no surprise that the history of anatomy and
the history of medicine in general – as well as the history of opera itself – is
well stocked with attitudes of misogyny and contempt for the poor. anatomy
theater’s libretto closely follows the ideas, methods, manners and even some
of the surviving documents of early medical thought.
For much of the history of anatomical inquiry the only bodies available for
dissection were those of executed convicts, and, after 1752, exclusively
murderers. It was genuinely thought that the anatomy of evil people was
different from that of law-abiding citizens, that their evil was written on their
organs, and that specialists could identify the differences and demonstrate
them publicly. This made public dissections a kind of moral carnival, in
which upstanding citizens could literally look down on the flawed remains
of evildoers. It is also true that the act of anatomical examination was
understood clearly as an additional punishment that could be meted out
beyond the death of the convict.
Female cadavers were very rare. In fact, when Vesalius, the pre-eminent
anatomist of the 16th century, posed for the frontispiece piece of his “De
Corporis Fabrica” (1543) he braggingly made Jan Stephen van Calcar
depict him dissecting a woman’s body. In England, The Anatomy Act of 1832
put a stop to grave robbing and the illicit trade in corpses, but it allowed
anatomists access to unclaimed bodies from prisons, poor houses and charity
hospitals, forever linking the teaching of dissection with poverty, criminality
and powerlessness.
— Mark Dion & David Lang
anatomy theater
Libretto by Mark Dion and David Lang

CAST
SARAH OSBORNE: Peabody Southwell
JOSHUA CROUCH: Marc Kudisch
BARON PEEL: Robert Osborne
AMBROSE STRANG: Timur

SCENE 1: The Confession of Sarah Osborne
(The prisoner SARAH OSBORNE, with a noose around her
neck, and accompanied by a hangman, whose face is hid-
den under a hood.)
SARAH OSBORNE
I, Sarah Osborne, having slaughtered my husband and two
children, and wishing to make known the motives which led
me to this deed do come before you, on bended knees to
confess. Neighbors and good Christians, open your ears to
the dreadful misfortune that hath befallen me, and hearing my
words let pity move your hearts. I shall now recount how I re-
solved to commit this crime, what my thoughts were, and what
was my intention. I shall also tell what went on in my mind
after doing this deed, and detail the miserable life I led.
At the age of fifteen, I began my career of wickedness by
improper connection with my mother’s husband, he not being
my natural father. He was a wanton rascal, often drunken,
and in this state did overpower me. I took to bedding him to
avoid beatings.
Soon I too began to frequently find myself in the condition of
intoxication, to which shameful vice I attribute my wretched
slide into degenerate life. I confess that I have been very wild
and ungrateful. After my cruel mother closed her door to me,
I was forced to make my way on the streets.
Having become addicted to drink, living in open as a harlot,
associating with abandoned characters, I became a person
most hardened.
At this low time I did meet John Sadler, who did wed me and
pimp for me. Now I see him as the cause of my overthrow,
but when we met he seemed the only kind person I had
encountered in my wretched life. With him I trifled away the
hours, the days, the months and years.
We had two children.
Even while walking the streets I became warmer and softer,
while John became colder and harder. The more tender I, the
more cruel he became. He took to beating me, beating me,
and sent me with more haste to the streets. This way I was
cheated of my life.
(spoken)
My love for him turned to contempt and I did meditate the
most dreadful revenge on the monster, and made the horrid
resolution of murdering him. I did devise to make him drunk-
en, although he always treated me abusively when in this
state. As he drank I added laudanum to his gin and soon he
was overcome. I ki(lled)……. extinguished him by suffocation,
once drunken I placed myself on his body and did hold a
pillow over his mouth and nose. The deed done I looked up,
only to spy my babes watching with wide eyes. I comforted
them, put them back to bed and smothered each in turn.
(sung)
That is the explanation of the crime. I await the fate which is
destined for me. I doubt not that when the thread of life shall
be cut, my soul will be received into that Glory which no
tongue can express. The Lord hath wrought great works and
been merciful, but if my Lord and Savior should be so cruel
to me as men and women have been, I had better burn in the
flames of Hell.
Farewell to all present.
(The prisoner SARAH OSBORNE is hanged by the neck until
dead. The hangman removes his hood and reveals himself to
be the caretaker JOSHUA CROUCH.)
(spoken): “Justice is Delivered!”
JOSHUA CROUCH
Justice is delivered! My fine fellow citizens, don’t you feel
safer now? Won’t you sleep better knowing there is one less
evil beating heart in the world? And how exciting, yes. The
snap of her neck under the gravitas of her actions. How thrill-
ing! Thank you. Thank you all, citizens, for participating in
this public execution of the law.
Now, for those of you who are still concerned about what the
future may hold for Sarah Osborne, fear not. Both her body
and her soul are on their way to a peaceful rest. I’m jesting,
of course. For as the Good Book tells us the soul of this mur-
deress of innocents is on a speedy descent to Hell, to burn in
sulfurous and tormenting flames, for all eternity.
As for the body, it has been decreed it shall be subject to an
anatomy demonstration, in my own personal theater. I am,
your humble servant, Joshua Crouch. Distinguished gen-
tlemen shall be there, my fine fellow citizens, some of them
among us even now, in which case, gentlemen, have your
money ready. For the rest of you, yes, you, the ruffians, the
low prostitutes, thieves, vagabonds, and of course, women, should I just say rascals and charlatans?
leave the shadow of the gallows now. Return to your mis- I can’t say I care who you are just as long as you have paid.
chief, educated I hope by what has transpired in this place. Gentlemen. Gentlemen.
For the grisly expression of the law is not so much to avenge
But today is a special day. Today is a special day. La la la la
past crime as it is to prevent its recurrence.
la la la la la la.
And now, for those of you that have money, distinguished
gentlemen all, I beg your patience. The body shall be read-
ied before it gets cold. But first, indulge me in a poem: No doubt you’ve marked the dear and extra cost of entrance
to the dissection theater. We have a corpse, a fresh corpse,
For what you are about to see
for anatomizing. Not two hours ago this heart was beating.
You chose to pay my heavy fee
It’s still warm, on the inside I’d wager. But the best thing of
And however you value morality
all is it’s legal, direct from the gallows. Hanged by the neck
I remind you, not one of you did cry out for her mercy.
and brought by the sheriff. Still has its teeth (for now at least).
Not one.
And..... it’s a woman. Gentlemen.
Thank you.
And now, as promised, the anatomy lesson will begin.
The corpse is a she – a right proper murderess. It is not often
that we get a young and healthy female in here. A child is six
shillings for the first foot and nine pence for each inch for all it
SCENE 2: Good Morrow and Welcome measures more in length. But for such a fresh quality female, I
seen the price go as high as twenty.
(We are now in the operating theater. We see the outline of
the body of SARAH OSBORNE under a sheet or shroud.) But this body I tell you is so fresh and lovely that I would not
dare to leave it alone with you, gentlemen.
JOSHUA CROUCH
(The shroud is removed, revealing the body of SARAH OS-
Good Morrow and welcome to you young gentlemen.
BORNE)
Gentlemen. Welcome young masters. Come in, and quickly
be seated, gentlemen. So many fresh faces, so many new She looks like an angel, so lovely and so pure. But in life it
monsters, gentlemen. From the looks of this crowd one was not so. Her heart is darker than the blackest dye.
would guess that the city is populated with nothing but future
surgeons, physicians, dentists, barbers, artists, sculptors. Or
(spoken): “Now, Gentlemen” the humors in such a man run clear and pure. The organs in
such a man show not a sign of corruption.
Now, gentlemen, my fine, young honest gentlemen. I assure This woman here did not lead an upright existence. She cared
you this woman was guilty of the most heinous of crimes, that for no one. She thought of no one’s pleasure but her own.
of being poor and desperate. But when all is said we must When we shall cut this woman open we will see that inside
admit her greatest crime was that of being born woman. From her are all of the signs of a wasted life. Her punishment is to
the day she was born we men lorded over her. We put her to reveal to science the good that she can only show us with her
work, we put her in her place, we put her to death. death.
And no matter, for we are not done with her yet. (laughs) (spoken): “Mr. Strang!”
For tonight gentlemen, we have with us an eminent visiting BARON PEEL
scholar – Baron Peel. He is a distinguished anatomist of both Mr. Strang!
talent and experience. They say he performed a vivisection (PEEL’s assistant AMBROSE STRANG enters, carrying a tray
on the family dog as a boy of eleven. They say, he is so of surgical instruments.)
practiced that two out of three graves in his home province lie
empty. They say that he dissected his own father, sister and
stillborn child. Post mortem, of course.
Gentlemen – Dr. Peel. (claps) SCENE 4: Presently I Shall Reveal
(BARON PEEL enters, slowly and pompously.)
BARON PEEL, and AMBROSE STRANG
Presently I shall reveal and explicate the instruments neces-
sary for our demonstration.
SCENE 3: Man Seeks to Know
Presently I shall reveal. (Presently he shall reveal.)
Revealing the array instruments and appliances for an anat-
BARON PEEL
omy is rather different from doing so before a surgery, in that
Man seeks to know the truth, about himself, how all his parts we can and have no fear that our subject will suddenly jump
make up his whole. Inside a man you can see the kind of life off the table and bolt off, as so often happens in the operation
that he led. An upright man who’s strong and steady, who theater.
works hard, who remembers the Lord who gave him his life –
BARON PEEL, AMBROSE STRANG, That serves the eye
and JOSHUA CROUCH It is the knife
And
Presently I shall reveal BARON PEEL, AMBROSE STRANG,
Presently he shall and JOSHUA CROUCH
He shall reveal
The knife must be an extension of the anatomist.
Presently
It must embody his hand and will.
The knife must feel with the sensitivity of his fingertips
and see with the acumen of his attentive eye.
SCENE 5: The instruments / Where is Evil? As in love, it is sweeter to penetrate the flesh with tenderness
than with force.
As in love, it is sweeter to penetrate the flesh with tenderness
BARON PEEL, AMBROSE STRANG, and JOSHUA CROUCH than with force.
The instruments commonly required for a practical anatomy As in love, it is sweeter to penetrate the flesh with tenderness
are fifteen in number. The instruments are fifteen in number. than with force.
The knife, the scissors, the hook, the needle, the blowpipe,
the probe, the bellows, the elevator, bone saws, chisels and BARON PEEL
mallet, bone nippers, a whetstone, and various sponges. Where is evil?
These instruments are required. Where is evil?
It is with you
BARON PEEL It is in you
In your body
The knife is the paragon of instruments
In your face and features
The knife is a key
In your blood
The knife is the key to the temple of the Lord our god.
In your bones and sinews
The knife is the key.
You can’t hide it
It is the knife that makes our art possible
You can’t stop it
It is the knife that opens the body
Penetrates the flesh There. There it is. There it is.
(STRANG starts to move the knife into the cadaver, and time Each part of the animal is unique unto itself
appears to stop) and ruled by its own distinctive organization,
which corresponds to the realms of heaven and earth.
Thus the microcosm and the macrocosm are united.
Within the body of a vital being nothing is still or inert.
SCENE 6: Cut If attentive, we can perceive life’s flow within us.
(instrumental) Nowhere is this more manifest than
in the pouch-like receptacle called the stomach.
The stomach is of the fiery realm of Vulcan –
the heat beneath earth’s mantle.
SCENE 7: Gentlemen, We Have Before Us
The stomach speaks – it is the realm of all our appetites;
lets us know when we need food,
BARON PEEL tells us the hour of the day,
Gentlemen, we have before us a fresh and exemplary body. it acknowledges the presence of evil by indignation
This façade of flesh, this empty jewel box, this discarded husk, causing us to vomit poison in the face of illness and trauma
has been vacated by the evil soul that dwelled therein, It pulverizes ingested food like a mill and ferments juice like a
which doubtlessly is on a speedy descent to the torture cham- brewer’s vat.
bers of Hell. Like a wine press the stomach squeezes out precious fluid,
Evil must have left its spoor somewhere, cooks it in heat and sends energy to the heart and limbs.
and detection of treachery is the purpose of this demonstration. While the dregs are conveyed down.
This woman’s depravity not evident on her figure The meat is stripped of power and turned to excrement.
must be conspicuous beneath her skin.
On many a hanged man’s stomach
Satan always leaves a footprint.
I have discovered cankerous ulcers,
Mr. Strang’s first incision has cut from the diaphragm to the open drooling sores and raw wounds,
pubis, which doth bespeak foul deeds and desperate conduct
thus revealing the intestines. with the certainty of confession .
The intestines hold no significance for our demonstration,
Mr. Strang, do you have the stomach?
they are merely the conduit for filth.
Rather, it is the stomach where we shall first apply our gaze.
AMBROSE STRANG (spoken)
I have it, honorable Doctor. The stomach has been extracted.
BARON PEEL (spoken)
Mr. Strang, would you kindly examine the organ’s exterior
and then bisect it and scrutinize its interior countenance.
(STRANG slices through the stomach, which spills a filthy liq- For the sake of regulation and balance.
uid with chunks in it over the floors. There is the sound of gas The body itself is a system –
escaping. He winces.)
AMBROSE STRANG (spoken)
While the gas and fluid are most detestable – it is normal. The
color, texture and surface betray no scarring, disfigurement or
grotesque appearance. It is normal. I estimate the weight to
be eight ounces. It is a perfect stomach.
BARON PEEL
Gentlemen, to discover nothing at all
may be the more telling than to have found something of im-
port.
I assure you evil is within this viscera.
We can conclude that evil doth not dwell within the
stomach of this criminal.
Therefore we shall turn to a more probable organ.
The spleen.
The insidious part within us all
which doth produce black bile
and thus is naturally the house of melancholy,
of moodiness, wrath and gloom.
Gentlemen of honorable ambition –
Its function is to produce and regulate black bile,
the darkest of all the humors.
Why should the body require production of fluid
so caustic and pernicious?
each part does complement all others in equilibrium
We must be on guard against bodily excesses.
These can be remedied by purgings or bleedings.
A person is a system of perfect regulation.
But what about an unhealthy soul?
Is there sign of evil here?
Squeeze it, Strang, and tell us what you find.
AMBROSE STRANG (spoken)
Sir, I have had a most intimate interrogation of the spleen and
find it without malady of any kind.
BARON PEEL
Fear not, gentlemen of high moral worth,
Our quest is far from over.
All aspects of the human body interrelate,
and illness of the whole is a manifestation of
dysfunction in the part.
The body has four fluids known as the humors, and no less.
The blood which is hot and wet is produced in our beating
hearts,
yellow bile, dry and hot, and made in the liver,
cold wet phlegm housed in the brain
and the black bile of the spleen,
correspond to the elements Fire, Air, Earth and Water
for the body is made as ‘world in miniature,’
in each part we discover the whole.
The blood is fire, it enlivens the spirit.
Let us once more breach the fortifications of this body
to bring forth the chest’s riches.
Remove the murderess’ heart for a thorough examination.
Hold it up so all may see it.
The heart is the chief mansion of the soul,
the origin of our moral behavior.
The first living aspect of man and the last to die.
Strang – hold it up!
(STRANG removes the heart, holds it up, and time stops.)
SCENE 8: Clearly / Some Very Strange Light
AMBROSE STRANG
Clearly there is evil here
But not in this unblemished heart
In each of us there are two parts
The body and the soul
If this body be without defect
We must look for evil in the soul
I fear we are cutting in the wrong place
For evil look to the soul
(STRANG examines the heart, weighs it, measures it, cuts it
open, etc., during which time SARAH OSBORNE appears to
revive, unnoticed by anyone.)
SCENE 9: My Heart
SARAH OSBORNE
My heart. My heart.
This was the heart that loved my children
This was the heart that in my youth was open
That was betrayed and broken.
How can you know the love that was within it
by looking at it cleaved asunder?
(SARAH OSBORNE, still unnoticed,
recedes again back into oblivion.)
AMBROSE STRANG (spoken)
The heart in my hand weighs 271 grams, no less. It is firm and
utterly unblemished and without corruption. It is a pump, most
exquisite.
BARON PEEL (spoken) – the uterus.
NO! I have anatomized many females and have established that
it is an organ much influenced by the moon and seasons.
Each part has a function, true, but each function has a meaning.
Thus for our last demonstration we will turn our gaze to this
A body is a divine text and as anatomists are charged with its
dark part which so deeply influences the female countenance.
reading.
We must elucidate the working of the Creator,
or as in this case we must unmask the mischief of the Deceiver. JOSHUA CROUCH (spoken)
Science and faith are in accord in our grander view of cre- The female countenance
ation.
The acceptance of the supernatural in the body is
BARON PEEL
something more than the result of an act of deliberate reason.
It is an act of faith, which owes its origins to a supernatural gift It seems only right and true to seek the blush of evil here,
of God, since it was woman who introduced evil unto the world.
by which the will accepts what is revealed in the heart.
Before us is the heart of a soul twisted and most foul, JOSHUA CROUCH (spoken)
yet its aspect is one of health and strength and betrays not the
Evil unto the world
virulent temperament of a murderess of children.
Where is this evil lodged?
BARON PEEL
This certainly is the body’s least governable organ,
filled with animal vitality –
SCENE 10: Gentlemen, We Have Yet Failed

JOSHUA CROUCH (spoken)

BARON PEEL
Animal vitality
Gentlemen, we have yet failed to reveal
the canker of evil within this mortal vessel,
but fear not, we shall ascertain it yet. BARON PEEL
One lair remains which may harbor the spoor of malignancy the very seat of hysteria.
The womb, like any animal, possesses an appetite lowed to investigate murderers and thieves before they were
most rapacious. hanged. Imagine how noble their contribution would be.
Indeed, you can hear it rumble and growl as it roams about
the body
The uterus is the fertile field in which man’s seed doth grow.
We all share our origin therein, however, SCENE 11: Where is Evil (Reprise)
we must recall this organ is ruled by hot blood.
What do you find Strang? Is it unwholesome? BARON PEEL
Where is evil?
AMBROSE STRANG (spoken) Where is evil?
It is an object of wonder, yet not unnatural in any aspect. It is with you
See, Gentlemen, the walls of the uterine chamber are half an It is in you
inch thick and quite firm in consistence. They are composed In your body
of non-striped muscle mingled with fibers which can stretch. In your face and features
They are lined with a membrane of a mucous film. There is In your blood
nothing abnormal herein. In your bones and sinews
You can’t hide it
You can’t stop it
BARON PEEL (spoken)
Where is evil?
My fine Gentlemen, do not despair that our dissection has
Where is evil?
come to an end and we have as yet failed to find the elusive
mark of the devil. Be not disheartened for we have gained It is within you
much knowledge. We know now where evil is not, and at the It is inside you
break of day we shall renew our distinguished hunt, if not in You can see it
this subject then in some other. One should not lose sight that You can touch it with your hand
necropsy is the foundation of our knowledge of the nature of You can squeeze it
man. Thus all criminals who are subject to being anatomized Between your fingers
after death do in some way advance the greater social cause. There. There it is. There it is.
Imagine Gentlemen if we good citizens of science were al- Where is evil?
Where is evil? It’s not around you
Look around you It’s not beside you
Look beside you Let us search inside us all
It is hiding Let us try to see
In the person next to you The evil that ferments within us
It is waiting And is practiced by our own hands
Waiting for you
You can’t stop it
SARAH OSBORNE
It will find you
Where is evil?
There. There it is. There it is.
Where is evil?
You looked inside me
AMBROSE STRANG And failed to see
Where is evil? The hunger that was
Where is it? Felt therein
It is with you Take my eyes
It is inside you Take my
Find the defect Take my lips
Find the part that’s broken or grotesque Take my
Within the minds of evildoers Take my hands
Take my
Where is evil?
Take my heart
Where is it?
Where is evil?
It is within you
Where is evil?
It is inside you
Let us search inside us all
To seek wisdom
Let us try to see
We must dissect the source of evil
The evil that ferments within us
Where is evil? And is practiced by our own hands
Where is it?
JOSHUA CROUCH But we all knows it – cutting up criminals is just a way to pun-
Where is evil? ish them beyond the grave. Not that I give a damn, gentle-
Where is evil? men.
It is within you I know why most of you are still here. You want further inspec-
It is inside you tion of them parts that have been removed – and those that
You can see it haven’t yet been removed. You ripe crop of ghouls.
You can touch it with your hand As usual you can meet me by the back gate, gentlemen.
You can squeeze it Let’s have ourselves a little auction, under the moonlight.
Between your fingers And have your money ready, gentlemen.
Where is evil? Goodnight, fine gentlemen, goodnight.
Where is evil?
Look around you
Look beside you
It is hiding
In the person next to you
It is waiting
Waiting for you
You can’t stop it
It will find you

SCENE 12: Too Bad The Doctor

JOSHUA CROUCH
Too bad the doctor didn’t find anything peculiar in this wom-
an. Don’t think that will stop him from looking for it.
Do you? Gentlemen?
anatomy theater is published by Red Poppy, Ltd. (ASCAP)
used by arrangement with G. Schirmer, Inc. as an agent for Red Poppy
A Ridge Theater Production. Developed and Produced by Beth Morrison Projects.
Development support provided by BRIC and Mass MoCA.

executive producers: Michael Gordon, David Lang, Kenny Savelson and Julia Wolfe
label manager: Bill Murphy
sales & licensing: Adam Cuthbert
label assistant: Cassie Wieland
art direction and design: Denise Burt/elevator-design.dk
artwork: Mark Dion
Theatrum Anatomicum
2005
colored pencil and collage on paper in 8 parts
overall installed dimensions: 15 x 92 1/2 inches; 38.1 x 235 cm
Courtesy the artist and Tanya Bonakdar Gallery, New York / Los Angeles

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