2021
Search results
ROBERT WILSON: IT’S ABOUT TIME. WHEN ROBERT WILSON’S WORK first appeared internationally it was generally seen from a single and limited viewpoint—as a return to the image. Wilson was understood as a proponent of two-dimensional theater, of theater to be looked at only. This was because he came into the public eye at the beginning of the ...
In director Robert Wilson’s theater works, the visual mise-en-scène and the music and/or text have always operated on two parallel tracks; each has demanded equal, split attention from the viewer. The general idea seems to have been inspired by Merce Cunningham’s separation of music and dance, and, in plays like I Was Sitting On My Patio . . .
Robert Wilson’s The Old Woman will be performed at Royce Hall in Los Angeles, Nov. 14 and 15, and at Zellerbach Hall in Berkeley, CA, Nov. 21–23. Amy Taubin is a contributing editor of Film Comment and Sight & Sound.
TWO CHAIRS AND A BED: ROBERT WILSON. LAYERS OF RETROSPECTION —the act or process of surveying the past—are implicit in Robert Wilson’s sculptures, which allude both to world history and to the histories of furniture and architecture. Furthermore, Wilson’s objects sometimes have their own histories as props designed for stage projects.
ROBERT WILSON’S. ORLANDO. Nineteen eighty-nine was a strange and densely packed year. At its end, History acted out a scenario bizarrely symmetrical to the one designed by Robert Wilson, in collaboration with Darryl Pinckney, for his interpretation of Virginia Woolf’s Orlando. The production had its world premiere in November at the small ...
Created in Japan, the Knee Plays conflated several performance modes into this typically Wilsonian method: Wilson’s brand of minimalist spectacle; choreographer Suzushi Hanayagi’s background in Kabuki and the Judson Dance Theater; and composer David Byrne’s reworking of musical genres—here, of New Orleans marching band music—and fondness for non sequitur texts.
Robert Wilson directed a glacially slow production, and Mark Morris created an ebullient dance piece with singers and orchestra in the pit. The recent San Francisco production of Four Saints by Ensemble Parallèle was billed as An Opera Installation.
Another is that one might find fault with the text, a criticism that would seem superfluous, even oxymoronic, to a piece by Robert Wilson, for whom narrative has always been beside the point. Or so it seemed until this bare-boned libretto, written by Darryl Pinckney, opened with a memorable line, “Not all journeys begin with a suitcase,” and then floundered.
Robert Wilson, “the CIVIL warS”. To judge from the disappointed tone of Dutch press reviews of the world premiere of the first episode of “the CIVIL warS,” Robert Wilson can still shock even the most faithful of his fans. What the critics disliked most was what they termed the use of clichés: notable figures from Dutch history, such as ...
Robert Wilson’s The Black Rider, 1990, is a delirious journey through a vivid theatrical landscape dotted with the signposts of vaudeville, cabaret, circus, and opera. A rousing and even bombastic overture—of horns and electric piano, drums and found pipes—sets the stage for an evening of splendid artifice.
