"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 ’70s, when the figurative gesture ruled supreme on the stage, and the body, in its expressive entirety, was at the center of a tendency to involve the spectator. But Wilson’s push was to stretch the visual; it was a recuperation of the grand deliriums of the Surrealist painters, basing dramatic narrative on a simple sequence of backdrops and the unfolding of a tableau vivant, immobile yet in continuous and unstoppable evolution. ..."
2008 April: Robert Wilson, 2010 January: Einstein on the Beach, 2010 July: The CIVIL warS, 2011 May: Einstein on the Beach: The Changing Image of Opera , 2011 August: Stations (1982), 2012 February: Absolute Wilson, 2012 August: Einstein on the Blog: Christopher Knowles’ Typings, 2013 March: The Life and Times of Joseph Stalin, 2013 April: Death, Destruction and Detroit, 2013 October: crickets audio recording slowed way down, 2013 October: Beached, 2014 January: The Louvre invites Robert Wilson - Living Rooms, 2014 November: The Old Woman - Robert Wilson, Mikhail Baryshnikov and Willem Dafoe, 2015 May: Watermill Quintet: Robert Wilson Curates New Performances, 2015 June: THE EARTH MOVES. A documentary about Einstein on the Beach., 2018 March: Video 50 (1978), 2021 October: Deafman Glance (1971)
Wilson’s aesthetic has been singularly consistent, including details like the white makeup performers wear and their stylized hand gestures.
No comments:
Post a Comment