ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
VOOM PORTRAITS
ISABELLA ROSSELLINI

…Robert Wilson does not portray only famous personalities, such as Isabella Rossellini, Brad Pitt, or Caroline von Monaco, but also unknown people and animals who have until now escaped artistic representation, such as a street dancer or a frog. In precisely these stagings, Wilson’s complex visual and sound languages reach their climax, namely, a celebration of empathy: anonymous people become divas, neutral beings achieve cult status. Wilson’s video portraits thus have a cognitive function. Within the history of portrait painting and photographic portraits, especially staged photography, his staged portraits present not only a pinnacle of accomplishment, but also, first and foremost, a climax that is groundbreaking.

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
SHAKESPEAR`S SONETTES
Staging Shakespeare, not dramatic but lyrical: that was the intention of the American director Bob Wilson in Sonnets de Shakespeares (Sonnets de Shakespeare), a show on display at the Berliner Ensemble. To that end, Wilson is associated with American-Canadian composer and musician Rufus Wainwright. The result is a variety night, with reference to all genres of entertainment, from the commedia dell’arte to television sketches, passing through the cabaret. If in the Elizabethan era female roles were played by men, Bob Wilson did the same, creating this reverse practice: actresses play male roles. This inversion – Queen Elizabeth 1st, on her throne, declaiming a sonnet with a deep voice and Shakespeare himself, as a young man and an elder, in female voices – further intensifies the farcical tone of the show. So much so that even the sporadic number of transvestite actor Georgette Dee, microphone in hand, does not disagree much of the Shakespearean surroundings.

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
БОБ УИЛСОН
Peter Pan

All in all, Robert Wilson’s Peter Pan is in itself a great adventure. Although it starts slowly and affectedly, it by and by offers the most stunning images and captivating performances, which are filled with plenty of mystery and possess emotional depth, letting us reflect upon our childhoods – all the varied ones each one of us had and has.

Robert Wilson

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
БОБ УИЛСОН
Arvo Pärt
Adam’s Passion
Estonian Arvo Pärt is one of the three most performed contemporary composers worldwide. His music has been described as contemplative, sacred, and timeless. “Time for us is the time of our own lives. It is temporary. What is timeless is the time of eternal life. Like the sun, we cannot look at these two directly, but my intuition tells me that the human soul is connected to both of them—time and eternity,” says Pärt. Much like Robert Wilson’s own universe, where time and space are the basic architecture of everything, it is as if these two artists have been waiting to collaborate with one another! ADAM’S PASSION will be a journey into the worlds of sound, light, visual art and performance. It will celebrate Arvo Pärt’s 80th birthday—all in a spectacular venue, the Noblessner Foundry, a vast, old industrial building by Tallinn’s harbo

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
БОБ УИЛСОН
DITA VON TEESE

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
БОБ УИЛСОН
Odyssey (Οδύσσεια)
The great epic work of ancient Greek poetry tells the story of Odysseus’s journey home after the Trojan War and what happens when the hero arrives at Ithaca. It is a transcendental tale that has always been the symbolic text par excellence about human adventure and the wanderings of existence in a harsh but exciting world.
Robert Wilson’s encounter with Homer is one of the major artistic events of this season. One of the most influential and acclaimed artists in world theatre brings his own unique approach to the material. The sensitivity, inventiveness and imagination of the great American director resonate with the Homeric spirit, creating a spellbinding new theatrical language. Eighteen carefully chosen performers and Wilson’s own internationally renowned collaborators bring all their artistry to bear on this unique venture, which is intended for all audiences, regardless of age or experience of the theatre.

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
БОБ УИЛСОН
SHAKESPEAR`S SONETTES

ROBERT WILSON, WILLIAM BURROUGHS AND TOM WAITS

The Black Rider
The Black Rider is in twelve parts and a prologue. I had the idea that there would be indoor and outdoor scenes, man-made and natural environments, and that the scenes would alternate. I made a prologue to introduce the company. It begins with a black box standing up. The devil and the entire company come out of the box until they all stand in a line in front of the stage, as in a circus where all artists are introduced at the beginning. Then the devil sings a song: “Come on along with the Black Rider, we’ll have a gay old time. Take off your skin and dance around in your bones. I’ll drink your blood like wine. Come on along with the Black Rider, we’ll have a gay old time…” Anyways, the audience gets a certain idea what the piece is going to be like. Then the characters disappear and the black box gets bigger and bigger, until the whole stage is engulfed in this black spot. The first scene takes place in the interior of a room, with an old family portrait on the back wall – played by an actor.

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
Bertold Brecht
Kurt Weill
Berliner Ensemble
Die Dreigroschenoper

Revel in this 30-strong ensemble of actors and musicians performing one of the most familiar scores in musical theatre today. Be warned, with a strictly limited engagement in Perth and following sellout seasons in New York, Hong Kong and Berlin, you need to be quick. In 1928, Bertolt Brecht and Kurt Weill created a masterwork that would change the shape of theatre forever. Eighty-five years later, visionary director Robert Wilson leads Brecht’s own company, the Berliner Ensemble, to perform in Australia for the very first time. Mack the Knife is the original city crim who’s never met a law, a woman or a cop he couldn’t seduce – but when he challenges the supremacy of the Beggar King and his empire of manufactured woes, the fallout threatens to tear the town apart.
.

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
a dama do mar (Fruen fra Havet)
Henrik Ibsen and Susan Sontag

ROBERT WILSON

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
Interpretation von Shakespeares Sonnetten

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
The Life and Death of Marina Abramovic

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
macbeth

PHILIP GLASS

فيليب الزجاج
菲利普·格拉斯
פיליפ גלאס
フィリップ·グラス
필립 글래스
Филип Гласс
Einstein On The Beach

ROBERT WILSON
Portrait Trilogy:Einstein; Akhnaten; Gandhi
Einstein on the Beach is an opera in four acts (framed and connected by five “knee plays” or intermezzos), scored by Philip Glass and directed by theatrical producer Robert Wilson. The opera eschews traditional narrative in favor of a formalist approach based on structured spaces laid out by Wilson in a series of storyboards. The music was written “in the spring, summer and fall of 1975.”Glass recounts the collaborative process: “I put [Wilson’s notebook of sketches] on the piano and composed each section like a portrait of the drawing before me. The score was begun in the spring of 1975 and completed by the following November, and those drawings were before me all the time.”

MAIKO TAKEDA

舞妓武田
武田麻衣子
מאיקו טאקדה
마이코 다케다
مايكو تاكيدا
Atmospheric Reentry

Die Atmospheric Reentry Collection untersucht die Bedingungen und Formen des Ätherischen. Ausgehend von der einfachen Frage, wie es sich anfühlt, eine Wolke zu tragen, hat Maiko Takeda eine Reihe skulpturaler Kopf- / Körperteile geschaffen, die die Grenzen des umgebenden Raums für den Träger verwischen und versuchen, die traditionellen Erwartungen an Kopfbedeckungen zu übertreffen. Die Ästhetik der Sammlung ist inspiriert von der futuristischen Stimmung von Ton und Bild, die aus Robert Wilsons 1976er Produktion von Philip Glass ‘Oper Einstein on the Beach stammt. Maiko bevorzugt die Verwendung unkonventioneller Materialien, wobei jedes Stück eine sorgfältige Zusammenstellung von Hunderten von stacheligen federähnlichen Einheiten aus klaren Acrylscheiben, farblich abgestuftem Film und silbernen Biegeringen darstellt, die sich auffächern, um eine Dichte und Leichtigkeit zu erreichen Umgeben Sie den Träger mit einem bunten, leuchtenden Dunst.

Phillip K Smith

Open Sky
Using giant sheets of mirror-polish stainless steel, Smith’s structure reflects the ever-changing sky. He describes that ‘Open Sky’ is “inspired by the constant shifts in light, color, and form that are presented in the natural and built environment.” The piece is designed to get visitors at the design week to interact with the natural environment and to spark a sense of adventure.

The Chinese Room

Dan Pinchbeck, Robert Briscoe, Jessica Curry, Jacky Morgan, Nigel Carrington, Ben Andrews & Samuel Justice
Dear Esther

“A deserted island… a lost man… memories of a fatal crash… a book written by a dying explorer.”

“Dear Esther” is a ghost story, told using first-person gaming technologies. Rather than traditional game-play the focus here is on exploration, uncovering the mystery of the island, of who you are and why you are here. Fragments of story are randomly uncovered when exploring the various locations of the island, making each journey a unique experience.

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