Join us for a conversation with artist and experimental theater stage director and playwright Robert Wilson, actor Willem Dafoe, and host Charles Shafaieh. We’ll conclude with a poetry reading by Annabel Lee.
Pushkin wrote the Fairy Tales at his country home Boldino between 1830 and 1834. The tales' sources vary from Russian folklore themes to Western tales. Written in verse, a humourous narrator alternates with dialogue of the characters. Rich symbolism and enigmatic structures ('Tale of the Golden Cockerel,' 'Tale of the Priest and his workman Balda') and powerful imagery ('Tale of the Fisherman,' 'Tale of Tsar Saltan') are central characteristics of these late works by the great Russian poet. Robert Wilson’s production of Pushkin's Fairy Tales unites four of the five tales in addition to the rather unknown fragment of the 'Tale of the She-Bear.'
More information and tickets can be found here.
Pushkin wrote the Fairy Tales at his country home Boldino between 1830 and 1834. The tales' sources vary from Russian folklore themes to Western tales. Written in verse, a humourous narrator alternates with dialogue of the characters. Rich symbolism and enigmatic structures ('Tale of the Golden Cockerel,' 'Tale of the Priest and his workman Balda') and powerful imagery ('Tale of the Fisherman,' 'Tale of Tsar Saltan') are central characteristics of these late works by the great Russian poet. Robert Wilson’s production of Pushkin's Fairy Tales unites four of the five tales in addition to the rather unknown fragment of the 'Tale of the She-Bear.'
More information and tickets can be found here.
Pushkin wrote the Fairy Tales at his country home Boldino between 1830 and 1834. The tales' sources vary from Russian folklore themes to Western tales. Written in verse, a humourous narrator alternates with dialogue of the characters. Rich symbolism and enigmatic structures ('Tale of the Golden Cockerel,' 'Tale of the Priest and his workman Balda') and powerful imagery ('Tale of the Fisherman,' 'Tale of Tsar Saltan') are central characteristics of these late works by the great Russian poet. Robert Wilson’s production of Pushkin's Fairy Tales unites four of the five tales in addition to the rather unknown fragment of the 'Tale of the She-Bear.'
More information and tickets can be found here.
Pushkin wrote the Fairy Tales at his country home Boldino between 1830 and 1834. The tales' sources vary from Russian folklore themes to Western tales. Written in verse, a humourous narrator alternates with dialogue of the characters. Rich symbolism and enigmatic structures ('Tale of the Golden Cockerel,' 'Tale of the Priest and his workman Balda') and powerful imagery ('Tale of the Fisherman,' 'Tale of Tsar Saltan') are central characteristics of these late works by the great Russian poet. Robert Wilson’s production of Pushkin's Fairy Tales unites four of the five tales in addition to the rather unknown fragment of the 'Tale of the She-Bear.'
More information and tickets can be found here.
Oratorio in three parts for soloists, choir and orchestra by Georg Friedrich Händel edited by Mozart
Mozart’s German-language version of Handel’s Messiah is famous, though seldom heard. Written in 1789, at the request of baroque enthusiast Gottfried van Swieten, this profound arrangement of Handel’s best-known oratorio includes copious woodwind parts. Marc Minkowski and Les Musiciens du Louvre are acclaimed exponents of Handel and Mozart.
Their brilliant performance is combined for the first time with the art of Robert Wilson: a fascinating fusion of periods and styles on several levels.
More information and tickets here.
Oratorio in three parts for soloists, choir and orchestra by Georg Friedrich Händel edited by Mozart
Mozart’s German-language version of Handel’s Messiah is famous, though seldom heard. Written in 1789, at the request of baroque enthusiast Gottfried van Swieten, this profound arrangement of Handel’s best-known oratorio includes copious woodwind parts. Marc Minkowski and Les Musiciens du Louvre are acclaimed exponents of Handel and Mozart.
Their brilliant performance is combined for the first time with the art of Robert Wilson: a fascinating fusion of periods and styles on several levels.
More information and tickets here.
“The Jungle Book is a work for all ages. I always liked what Baudelaire said: ‘Genius is no more than childhood recaptured at will.’”
For more information click here.
“The Jungle Book is a work for all ages. I always liked what Baudelaire said: ‘Genius is no more than childhood recaptured at will.’”
For more information click here.
“The Jungle Book is a work for all ages. I always liked what Baudelaire said: ‘Genius is no more than childhood recaptured at will.’”
For more information click here.
Oratorio in three parts for soloists, choir and orchestra by Georg Friedrich Händel edited by Mozart
Mozart’s German-language version of Handel’s Messiah is famous, though seldom heard. Written in 1789, at the request of baroque enthusiast Gottfried van Swieten, this profound arrangement of Handel’s best-known oratorio includes copious woodwind parts. Marc Minkowski and Les Musiciens du Louvre are acclaimed exponents of Handel and Mozart.
Their brilliant performance is combined for the first time with the art of Robert Wilson: a fascinating fusion of periods and styles on several levels.
More information and tickets here.
Oratorio in three parts for soloists, choir and orchestra by Georg Friedrich Händel edited by Mozart
Mozart’s German-language version of Handel’s Messiah is famous, though seldom heard. Written in 1789, at the request of baroque enthusiast Gottfried van Swieten, this profound arrangement of Handel’s best-known oratorio includes copious woodwind parts. Marc Minkowski and Les Musiciens du Louvre are acclaimed exponents of Handel and Mozart.
Their brilliant performance is combined for the first time with the art of Robert Wilson: a fascinating fusion of periods and styles on several levels.
More information and tickets here.
Oratorio in three parts for soloists, choir and orchestra by Georg Friedrich Händel edited by Mozart
Mozart’s German-language version of Handel’s Messiah is famous, though seldom heard. Written in 1789, at the request of baroque enthusiast Gottfried van Swieten, this profound arrangement of Handel’s best-known oratorio includes copious woodwind parts. Marc Minkowski and Les Musiciens du Louvre are acclaimed exponents of Handel and Mozart.
Their brilliant performance is combined for the first time with the art of Robert Wilson: a fascinating fusion of periods and styles on several levels.
More information and tickets here.
An exhibition of new drawings by American artist Robert Wilson, on the occasion of his new stage production of Der Messias, an oratorio by Georg Friedrich Händel adapted by Wolfgang Amadeus Mozart, at the Théâtre des Champs-Elysées in Paris.
In these graphic works, fuelled by influences ranging from performance art to Minimalism, the internationally renowned director, stage architect, designer, choreographer, curator, visual and light artist captures on paper the ephemeral moments of his productions, which are strongly influenced by light. Created during the initial rehearsals of the stage project in autumn 2019, the drawings are not intended to illustrate the production, but represent the power beneath the surface of the music, the undercurrent of this entirely abstract work.
Der Messias, a co-production of the Mozarteum Foundation Salzburg with the Théâtre des Champs-Elysées and the Salzburg Festival, is directed by Robert Wilson and conducted by Marc Minkowski.
Opening hours: Tuesday to Saturday 10am to 7pm.
For more information click here.
An exhibition of new drawings by American artist Robert Wilson, on the occasion of his new stage production of Der Messias, an oratorio by Georg Friedrich Händel adapted by Wolfgang Amadeus Mozart, at the Théâtre des Champs-Elysées in Paris.
In these graphic works, fuelled by influences ranging from performance art to Minimalism, the internationally renowned director, stage architect, designer, choreographer, curator, visual and light artist captures on paper the ephemeral moments of his productions, which are strongly influenced by light. Created during the initial rehearsals of the stage project in autumn 2019, the drawings are not intended to illustrate the production, but represent the power beneath the surface of the music, the undercurrent of this entirely abstract work.
Der Messias, a co-production of the Mozarteum Foundation Salzburg with the Théâtre des Champs-Elysées and the Salzburg Festival, is directed by Robert Wilson and conducted by Marc Minkowski.
For more information click here.
After Madama Butterfly (Paris, 1993), Turandot is Giacomo Puccini's second opera to be directed by Robert Wilson.
More information and tickets here.
After Madama Butterfly (Paris, 1993), Turandot is Giacomo Puccini's second opera to be directed by Robert Wilson.
More information and tickets here.
After Madama Butterfly (Paris, 1993), Turandot is Giacomo Puccini's second opera to be directed by Robert Wilson.
More information and tickets here.
After Madama Butterfly (Paris, 1993), Turandot is Giacomo Puccini's second opera to be directed by Robert Wilson.
More information and tickets here.
After Madama Butterfly (Paris, 1993), Turandot is Giacomo Puccini's second opera to be directed by Robert Wilson.
More information and tickets here.
After Madama Butterfly (Paris, 1993), Turandot is Giacomo Puccini's second opera to be directed by Robert Wilson.
More information and tickets here.
Sotheby’s is excited to announce a curated grouping of artworks to benefit the Watermill Center. The Watermill Center is a laboratory for the arts and humanities, established in 1990 in Water Mill, New York, by theater artist Robert Wilson. For 30 years, Watermill has been a site for artist residencies, exhibitions, and education, with a focus on emerging international artists. In 2016, The Watermill Center initiated the Inga Maren Otto Fellowship, which includes among its alumni: Carrie Mae Weems, Tania Bruguera, Shaun Gladwell, Anne Carson, and Barthelemy Toguo. The Watermill Center welcomes over 200 artists for residencies each year, and offers free educational programming to students from the local communities of Long Island. The Center's research library, art collection, and gardens are free and open to the public.
A talk with Robert Wilson during the FITS – The first big Festival in Central and Eastern Europe to be organised online in 2020.
You can watch the talk here.
Robert Wilson’s masterpiece that was just premiered this past January at the Mozartwoche in Salzburg can be viewed here online at the Sibiu International Theatre Festival.
The streaming only works in Romania!
A talk with Robert Wilson during the FITS – The first big Festival in Central and Eastern Europe to be organised online in 2020.
You can watch the talk here.
For Hamletmachine, Wilson first worked with students at New York University, and later – in the original German version – with theater students in Hamburg, produced by the Thalia Theater. In 2017, the production was revived in an Italian version with acting students from the Theater Academy "Silvio d'Amico" in Rome.
Heiner Müller himself called Wilson’s production “the best production ever” of this work, praising it for its lightness and absence of interpretive staging.
Here you can get to the link for the streaming.
At the invitation of the Teatrul National Marin Sorescu Craiova, Robert Wilson directed the renowned absurdist comedy of Romanian playwright Eugène Ionescu. As Ionescu spent much of his life in France, writing primarily in French, this staging marked a unique occasion for his work to be performed in his native tongue and country.
The stream can be accessed here.
After Madama Butterfly (Paris, 1993), Turandot was Robert Wilson’s second production of an opera by Giacomo Puccini. For the performances in Madrid and Vilnius, the finale by Franco Alfano (with Toscanini’s cuts) was used.
“Robert Wilson is not a person to adapt his work to someone’s expectations and has a proper understanding of what theatre performance is. The most important thing for him is a single line, from the first moment to the brilliant last second. And this is what Turandot is.”
You can view the production here.
The Bard is modern and alive than ever in Robert Wilson's Shakespeare's Sonnets, a contemporary take on 25 specially chosen sonnets from Shakespeare's cannon. Set to a sweeping score composed by Rufus Wainwright, a genre-bending mix of medieval German Minnesang, classical, pop, and cabaret rock is performed by the actors of the Berliner Ensemble.
The stream is available from May 3, 7pm until May 4, 6pm local time.
Streaming of Robert Wilson’s Hamletmachine by Heiner Müller, premiered October 4, 1986. The production has been invited to the Theatertreffen in Berlin.
For Hamletmachine, Wilson first worked with students at New York University, and later – in the original German version – with theater students in Hamburg, produced by the Thalia Theater. In 2017, the production was revived in an Italian version with acting students from the Theater Academy "Silvio d'Amico" in Rome.
Heiner Müller himself called Wilson’s production “the best production ever” of this work, praising it for its lightness and absence of interpretive staging.
The stream is available for 24 hours.
More information here.
View available drawings and designs from the production here.
