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Robert Wilson

 

Teatro Real, ''O corvo branco'', 1998 From the formative run of Robert Wilson, one could draw the plot of a fairy theatrical pièce that became a model: the parable of a youth that thanks to the theater overcomes his own fears and tensions and becomes a ruler, over that of himself, of a work in which he is recognized a master today.
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Düsseldorfer Schauspielhaus, ''Der Sandmann'', 2017 The game of the theater that becomes the same theater. Robert Wilson begins to care about it it as a child in the garage of his house, where it has as companion of games the maternal grandmother, who will also stand on his side when he will become adult in several professional theatrical performances, takin part, initially, in his same adventure.
With the help and the teachings of a dance teacher woman he recovers from a small handycap (up to seventeen years he is suffering from stuttering).He will use this experience with the disabled children and in the laboratories of theater for the infancy.
Teatro Municipal de São Paulo, ''Macbeth'', 2013 He abandons his studies of economy to which he is started by the family to devote himself to the figurative arts, toward which he feels to be more interested and, in order to study architecture, in 1962 he moves to New York where he meets Martha Graham, the ''mother'' of the modern dance, with which he collaborates and performs the first important scenographical experiences.
The Years 1960s of Wilson are frantic, his internal search brings him to complete attempts in a multiplicity of directions: he studies painting in Paris, he shoots a short film, then a film that remained incomplete.He joins the community of Arcosanti, founded in Arizona by the utopian Turinese architect Paolo Soleri, he is forced to take care of a strong existential crisis in a clinic for mental illnesses, he creates a theatrical laboratory whose representations develop on the roofs of the buildings: the Byrd Hoffmann School (Mrs. ''Byrd'' Hoffman was the teacher of dance that had recovered him from the stuttering...).
In the 1969 Robert Wilson puts on stage what he considers his first show: The King of Spain, whose new-Dadaism receives an unexpected success.In the action it doesn't substantially happen anything, but the amazing and contradictory three settings (a beach, a Victorian living room and a cavern), apparently populated by a rich collage of objects, people, lights and casual shapes, open the road to manifold and powerful possibilities of reading.
Teatro alla Scala, ''Il ritorno di Ulisse in patria'', 2011 In 1971 the Wilson case explodes in Europe, and he suddenly becomes a cult director.Deafman Glance, opera of the silence in which the scenes follow him in front of the eyes of a deaf-mute, conquers the public with the dilated slowness and exhausting flowing of the images, forcing the spectators to lower in a visual and temporal dimension that has a deep impact.
Teatro Paulo Autran, ''Garrincha'', 2016 In 1974 he presents at the Festival dei Due Mondi of Spoleto A Letter of Queen Victoria, which musical content serve as a transition toward the following and famous Einstein on the Beach, that Wilson presents at the 1976 Festival d'Avignon. The music by Philip Glass becomes here inseparable from the stage action and it develops with an obsessive score that is object of several protests.
Director, scenographer and actor, Robert Wilson (Waco, Texas, 1941) is a complete range theatre master whose work, from the end of the Sixties, crossed and often drove the theatrical avant-garde.
Wilson doesn't face the contradictions of our time in a direct way, through a conventional narration.
To make them appear on the surface he split the contemporaneity up in thousand kaleidoscopic facets through a formal search that uses, for instance, the precision of the gestures of the actors and the refinement of the lights.
It results a theater that doesn't tell according to its traditional canons, but builds a structure made of visual and auditory references that act on the inner being of the spectator.
The scenographies of Wilson are often minimal, always adverse to the naturalism and finalized to the creation of a theater that doesn't aim to give answers but, rather, to set questions through the images, as Beckett did with the words.

Materials used in this production

Düsseldorfer Schauspielhaus, ''Der Sandmann''

Prose theatre

Festival dei Due Mondi, ''Letter to a Man''

Prose theatre

Teatro alla Scala, ''Il ritorno di Ulisse in patria''

Lyric opera

Teatro Municipal, ''Macbeth''

Lyric opera

Teatro Paulo Autran, ''Garrincha''

Operetta, zarzuela, musical

Teatro Real, ''O corvo branco''

Lyric opera

Theatre of Nations, ''Pushkin's Fairy Tales''

Prose theatre

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