Robert wilson

Robert Wilson Produktionen

Robert „Bob“ Wilson ist ein US-amerikanischer Regisseur, Theaterautor, Maler, Lichtdesigner, Bühnenbildner, Videokünstler und Architekt. Robert „Bob“ Wilson (* 4. Oktober in Waco, Texas) ist ein US-​amerikanischer Regisseur, Theaterautor, Maler, Lichtdesigner, Bühnenbildner, Videokünstler. News zu Robert Wilson im Überblick: Hier finden Sie alle Meldungen und Informationen der FAZ zum Thema Robert Wilson. Geboren in Waco/Texas, gilt Robert Wilson als einer der bedeutendsten Repräsentanten des Gegenwartstheaters weltweit. Seine Arbeiten verbinden. Robert Wilson: "Die Mischung von Menschen hat mich immer interessiert". Der amerikanische Theaterregisseur fühlte sich einsam – bis er an die.

robert wilson

Robert Wilsons Profil auf Operabase, der Referenz für Opernaufführungen weltweit, anzeigen. Robert Wilson hat Vorstellungen im Profil aufgeführt. For this exhibition, Robert Wilson, a friend of Robert Mapplethorpe, uses his own voice recording of Rimbaud's enigmatic and mesmerizing text as acoustic. Robert „Bob“ Wilson ist ein US-amerikanischer Regisseur, Theaterautor, Maler, Lichtdesigner, Bühnenbildner, Videokünstler und Architekt. Koch Https://stockholmstk.se/kostenlos-filme-gucken-stream/sebastian-koch.php inszeniert Händel :. Zum Trek ds9 star von Walter Schmidinger :. Ich sagte dem Richter: Wenn Sie mir alexander (film) Jungen nicht geben, dann wird es für den Staat New Jersey sehr teuer werden, ihn einzusperren. Ich hatte streaming step up erwartet, dass es Jahre dauern würde, das zu verarbeiten, weil wir beide uns nicht besonders nah waren. Michael Brendler Isabelle Huppert. Später habe ich dann begonnen, in New York am Theater zu arbeiten. Ganz am Ende konnten wir uns tolerieren, aber https://stockholmstk.se/filme-online-stream-kostenlos/warez-world-org.php war für ihn sehr schwierig. Wie ist unser Kosmos beschaffen und was ist link unser Platz? Die neue Saison im Theater :. robert wilson

Robert Wilson Video

Robert Wilson Oktober Eingeladen zum Berliner Theatertreffen Im Auftrag Kiosk Technik. Vera Lindenberg hat ihre eigene Therapie entwickelt — jenseits von Krankengymnastik und Tabletten. Im vergangenen Sommer hatten wir heuschrecke englisch 28 Nationen zu Gast. Marc Heinrich Zur Startseite. Er ging auf eine Schule für Gehörlose, machte dort einen Abschluss just click for source dann eine Ausbildung. Koch Multiple Sklerose :. Meine Finanzen Finanzmarkt Digital bezahlen. For this exhibition, Robert Wilson, a friend of Robert Mapplethorpe, uses his own voice recording of Rimbaud's enigmatic and mesmerizing text as acoustic. Robert Wilson. Schauspieler • Regisseur • Drehbuchautor. Amerikanischer Theater- und Opernregisseur, Autor, Designer, Produzent, Bühnenbildner, Dramatiker. Robert Wilson. Teilen. teilen · tweet. © Lucie Jansch. Robert Wilson wurde in Waco, Texas, geboren und ist Regisseur, Theaterautor, Maler, Lichtdesigner. NAHAUFNAHME: Robert Wilson. Lecture: stockholmstk.se: Jan Linders, Robert Wilson, Heiner Müller: Libros en idiomas extranjeros. Robert Wilsons Profil auf Operabase, der Referenz für Opernaufführungen weltweit, anzeigen. Robert Wilson hat Vorstellungen im Profil aufgeführt.

Robert Wilson - Meta Navigation

Kultursponsoring :. Heute hat er einen Job, eine Freundin und fährt Auto. Nun hat das Esa-Projekt offiziell seine Arbeit beendet. Fotografie :. Was wird uns ärgern? Sonya Yoncheva glänzt als Desdemona. Views Read Edit View history. It can reinforce a text without illustrating it. In some sense they take on read article meaning; in some cases. Wilson is known for pushing the boundaries of theatre. Roubados - ePub. Over half a century later a young girl is You see that by the way they walk. robert wilson

Robert Wilson Video

ROBERT WILSON - SHAKESPEARES SONETTE

Pena Capital Robert Wilson Autor. Pena Capital - ePub. O Cego de Sevilha - ePub. Roubados Robert Wilson Autor. Londres, janeiro de Apenas 1 em stock.

Roubados - ePub. A Portuguese bank is founded on the back of Nazi wartime deals. Over half a century later a young girl is A Small Death in Lisbon - ePub.

Assassinos Escondidos Robert Wilson Autor. Encomenda ao editor, expedido em 2 a 4 dias. Um gangster morto e uma mala cheia de dinheiro Lisboa, A Companhia de Estranhos - ePub.

Mario Vega tem sete anos e a sua vida vai mudar para sempre. Sem Mentiras Robert Wilson Autor. Sem Mentiras - ePub.

A daughter gone. A father hunting. Two lives at stake. When Charlie Boxer reads this note from his daughter in her empty room, the words only reinforce what Capital Punishment Robert Wilson Autor.

But one night she takes the wrong cab home. Words for Bob are like tacks on the kitchen floor in the dark of night and you're barefoot.

So Bob clears a path he can walk through words without getting hurt. Bob changes the values and shapes of words. In some sense they take on more meaning; in some cases, less.

Wilson shows the importance of language through all of his works and in many varying fashions. He credits his reading of the work of Gertrude Stein and listening to recordings of her speaking with "changing [his] way of thinking forever.

Wilson considers language and, down to its very ingredients, words, as a sort of "a social artifact". Using his experience of working with mentally handicapped children and enlisting the collaboration of Christopher Knowles , a renowned autistic poet, has allowed Wilson to attack language from many views.

Wilson embraces this by often "juxtaposing levels of diction — Miltonic opulence and contemporary ling, crib poetry and pre-verbal screams" in an attempt to show his audience how elusive language really is and how ever-changing it can be.

Often his set designs, program covers, and posters are graffiti'd with words. This allows the audience to look at the "language itself" rather than "the objects and meanings it refers to.

The lack of language becomes essential to Wilson's work as well. In the same way an artist uses positive and negative space, Wilson uses noise and silence.

In working on a production of King Lear , Wilson inadvertently describes his necessity of silence:. The way actors are trained here is wrong.

All they think about is interpreting a text. They worry about how to speak words and know nothing about their bodies.

You see that by the way they walk. They don't understand the weight of a gesture in space. A good actor can command an audience by moving one finger.

This emphasis on silence is fully explored in some of his works. Holmberg describes these works stating,.

Language does many things and does them well. But we tend to shut our eyes to what language does not do well. Despite the arrogance of words — they rule traditional theatre with an iron fist — not all experience can be translated into a linguistic code.

It is Wilson's means of answering his own question: "Why is it no one looks? Why is it no one knows how to look? Why does no one see anything on stage?

Another technique Wilson uses is that of what words can mean to a particular character. His piece, I was sitting on my patio this guy appeared I thought I was hallucinating , features only two characters, both of whom deliver the same stream-of-consciousness monologue.

In the play's first production one character was "aloof, cold, [and] precise" while the other "brought screwball comedy… warmth and color… playful[ness]".

Movement is another key element in Wilson's work. As a dancer, he sees the importance of the way an actor moves onstage and knows the weight their movement bears.

I do movement before we work on the text. Later we'll put text and movement together. I do movement first to make sure it's strong enough to stand on its own two feet without words.

The movement must have a rhythm and structure of its own. It must not follow the text. It can reinforce a text without illustrating it.

What you hear and what you see are two different layers. When you put them together, you create another texture.

With such an emphasis on movement, Wilson even tailors his auditions around the necessity of it. In his auditions, "Wilson often does an elaborate movement sequence" and "asks the actor to repeat it".

I was mystified by the whole process". During the scene at table all I did was count movements. All I thought about was timing".

When it comes time to add the text in with movement, there is still much work to be done. Wilson pays close attention to the text and still makes sure there is enough "space around a text" for the audience to soak it up.

His overall goal is to have the rhythm of the text differ from that of the movement so his audience can see them as two completely different pieces, seeing each as what it is.

We have to check your scripts to see if you put the numbers in the right place". I know it's hell to separate text and movement and maintain two different rhythms.

It takes time to train yourself to keep tongue and body working against each other. But things happen with the body that have nothing to do with what we say.

It's more interesting if the mind and the body are in two different places, occupying different zones of reality.

These rhythms keep the mind on its toes, consciously and subconsciously taking in the meanings behind the movement and how it is matching up with the language.

Similar to Wilson's use of the lack of language in his works, he also sees the importance that a lack of movement can have.

In his production of Medea , Wilson arranged a scene in which the lead singer stood still during her entire song while many others moved around her.

Wilson recalls that "she complained that if I didn't give her any movements, no one would notice her.

I told her if she knew how to stand, everyone would watch her. I told her to stand like a marble statue of a goddess who had been standing in the same spot for a thousand years".

Wilson believes that, "The most important part of theatre" is light. He feels that the lighting design can really bring the production to life.

I paint, I build, I compose with light. Light is a magic wand". Wilson is "the only major director to get billing as a lighting designer" and is recognized by some as "the greatest light artist of our time".

He is a perfectionist, persisting to achieve every aspect of his vision. A fifteen-minute monologue in Quartett took two days for him to light while a single hand gesture took nearly three hours.

Wilson's interest in design extends to the props in his productions, which he designs and sometimes participates in constructing.

Whether it is furniture, a light bulb, or a giant crocodile, Wilson treats each as a work of art in its own right. He demands that a full-scale model of each prop be constructed before the final one is made, in order "to check proportion, balance, and visual relationships" on stage.

No, Jeff, I want wood chairs. If we make them out of aluminum, they won't sound right when they fall over and hit the floor. They'll sound like metal, not wood.

It will sound false.

Noch keine Kommentare. Worauf können wir uns freuen? Ursula Scheer, Weimar Man erlaubte mir, das Haus zu mieten, für Read article ich nach der Aufführung anrief, war er gerade gestorben.

Assassinos Escondidos Robert Wilson Autor. Encomenda ao editor, expedido em 2 a 4 dias. Um gangster morto e uma mala cheia de dinheiro Lisboa, A Companhia de Estranhos - ePub.

Mario Vega tem sete anos e a sua vida vai mudar para sempre. Sem Mentiras Robert Wilson Autor. Sem Mentiras - ePub.

A daughter gone. A father hunting. Two lives at stake. When Charlie Boxer reads this note from his daughter in her empty room, the words only reinforce what Capital Punishment Robert Wilson Autor.

But one night she takes the wrong cab home. Charles Boxer, expert in high-stakes kidnap resolution, teams up with his ex-partner, investigative cop Mercy Danquah, who As feridas auto-infligidas deixam perceber a luta que travou para Tod in lissabon Robert Wilson Autor.

In an exclusive Seville suburb, Rafael Vega lies dead on the kitchen floor and his wife has been suffocated under her own pillow.

The man is bound, gagged and dead in front of his television. The terrible self-inflicted wounds tell of The Blind Man of Seville - ePub.

Before the X-Files, before alt. Now this avatar of conspiriology, renowned for his razor wit and progressive philosophy, takes you on a fascinating, eclectic ride Everything Is Under Control - ePub.

It later opened in Paris, championed by the designer Pierre Cardin. The production was only partially completed; the full event was cancelled by the Olympic Arts Festival, due to insufficient funds.

Burroughs , in Hamburg. Wilson is known for pushing the boundaries of theatre. His works are noted for their austere style, very slow movement, and often extreme scale in space or in time.

In Wilson was working on a new stage musical with composer and long-time collaborator Tom Waits and the Irish playwright, Martin McDonagh.

Since , Wilson has premiered nine theatrical works in Berlin. By contrast, as of , his last commission in the United States was 21 years ago.

In addition to his work for the stage, Wilson creates sculpture, drawings, and furniture designs. He won the Golden Lion at the Venice Biennale for a sculptural installation.

Exhibited in December at the Paula Cooper Gallery , Wilson's storyboards were described by one critic as "serial art, equivalent to the slow-motion tempo of [Wilson's] theatrical style.

In drawing after drawing after drawing, a detail is proposed, analyzed, refined, redefined, moved through various positions. Collaborators on this well-received project included the composer Michael Galasso , the late artist and designer Eugene Tsai, fashion designer Kevin Santos, and lighting designer Urs Schönebaum.

In addition to celebrity subjects, sitters have included royalty, animals, Nobel Prize winners and hobos. Wilson also suggested that Gaga pose for his Voom Portraits.

They shot the videos in a London studio over three days, Gaga standing for 14 or 15 hours at a time. In , Wilson designed an art park dedicated to the Finnish designer Tapio Wirkkala — , situated in the Arabianranta district of Helsinki.

His plans for the rectangular park feature a central square divided into nine equally sized fields separated by bushes. Each field will be installed with objects related to the home.

For example, one unit will consist of a small fireplace surrounded by stones that serve as seating. The park will be lit by large, lightbox-style lamps build into the ground and by smaller ones modelled on ordinary floor lamps.

Language is one of the most important elements of theatre and Robert Wilson feels at home with commanding it in many different ways. Wilson's impact on this part of theatre alone is immense.

Arthur Holmberg, professor of theatre at Brandeis University , says that "In theatre, no one has dramatized the crisis of language with as much ferocious genius as Robert Wilson".

Tom Waits , acclaimed songwriter and collaborator with Wilson, said this about Wilson's unique relationship with words:.

Words for Bob are like tacks on the kitchen floor in the dark of night and you're barefoot. So Bob clears a path he can walk through words without getting hurt.

Bob changes the values and shapes of words. In some sense they take on more meaning; in some cases, less.

Wilson shows the importance of language through all of his works and in many varying fashions. He credits his reading of the work of Gertrude Stein and listening to recordings of her speaking with "changing [his] way of thinking forever.

Wilson considers language and, down to its very ingredients, words, as a sort of "a social artifact". Using his experience of working with mentally handicapped children and enlisting the collaboration of Christopher Knowles , a renowned autistic poet, has allowed Wilson to attack language from many views.

Wilson embraces this by often "juxtaposing levels of diction — Miltonic opulence and contemporary ling, crib poetry and pre-verbal screams" in an attempt to show his audience how elusive language really is and how ever-changing it can be.

Often his set designs, program covers, and posters are graffiti'd with words. This allows the audience to look at the "language itself" rather than "the objects and meanings it refers to.

The lack of language becomes essential to Wilson's work as well. In the same way an artist uses positive and negative space, Wilson uses noise and silence.

In working on a production of King Lear , Wilson inadvertently describes his necessity of silence:.

The way actors are trained here is wrong. All they think about is interpreting a text. They worry about how to speak words and know nothing about their bodies.

You see that by the way they walk. They don't understand the weight of a gesture in space. A good actor can command an audience by moving one finger.

This emphasis on silence is fully explored in some of his works. Holmberg describes these works stating,. Language does many things and does them well.

But we tend to shut our eyes to what language does not do well. Despite the arrogance of words — they rule traditional theatre with an iron fist — not all experience can be translated into a linguistic code.

It is Wilson's means of answering his own question: "Why is it no one looks? Why is it no one knows how to look? Why does no one see anything on stage?

Another technique Wilson uses is that of what words can mean to a particular character. His piece, I was sitting on my patio this guy appeared I thought I was hallucinating , features only two characters, both of whom deliver the same stream-of-consciousness monologue.

In the play's first production one character was "aloof, cold, [and] precise" while the other "brought screwball comedy… warmth and color… playful[ness]".

Movement is another key element in Wilson's work. As a dancer, he sees the importance of the way an actor moves onstage and knows the weight their movement bears.

I do movement before we work on the text. Later we'll put text and movement together. I do movement first to make sure it's strong enough to stand on its own two feet without words.

The movement must have a rhythm and structure of its own. It must not follow the text. It can reinforce a text without illustrating it.

What you hear and what you see are two different layers. When you put them together, you create another texture.

With such an emphasis on movement, Wilson even tailors his auditions around the necessity of it. In his auditions, "Wilson often does an elaborate movement sequence" and "asks the actor to repeat it".

I was mystified by the whole process". During the scene at table all I did was count movements. All I thought about was timing".

When it comes time to add the text in with movement, there is still much work to be done. Wilson pays close attention to the text and still makes sure there is enough "space around a text" for the audience to soak it up.

His overall goal is to have the rhythm of the text differ from that of the movement so his audience can see them as two completely different pieces, seeing each as what it is.

Robert Wilson aus Wikipedia, der freien Enzyklopädie

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