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Robert Wilson is an AmericanEuropean director who is also a performer, installation artist, writer, designer of light and much more besides a crossover polymath who dissolves both generic and geographical boundaries and is a precursor of globalisation in the arts. This second edition of Robert Wilson combines:











an analysis of his main productions, situated in their American and European socio-cultural and political contexts





a focused, detailed study of Wilsons pathbreaking Einstein on the Beach





a study of Pushkin's Fairy Tales as the foremost example of his folk-rock music theatre in the twenty-first century





an exploration of his visual book, workshop and rehearsal methods, and collaborative procedures





a study of his aesthetic principles and the elements of composition that distinguish his directorial approach





a series of practical exercises for students and practitioners highlighting Wilsons technique.

As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for todays student.
List of figures
xi
Acknowledgements xiii
1 A Working Life
1(48)
Becoming Robert Wilson
1(6)
Dance plays, silent operas and words
7(10)
Art and politics: the 1960s and after
17(13)
Wilson after Einstein
30(19)
2 Method, Elements and Principles
49(44)
A workshop method
50(11)
Elements and principles
61(32)
3 Einstein on the Beach
93(35)
Itinerary and reception
93(5)
Einstein on the Beach: a landmark
98(1)
Structure and form
99(4)
Breakdown of the work
103(19)
Summing up
122(6)
4 Post Scriptum Of 2017: Pushkin's Fairy Tales
128(14)
Style and `camp'
129(4)
Display and cultural evocation
133(9)
5 Practical Exercises
142(38)
Movement
144(8)
Body imaging
152(2)
Make-up
154(1)
Composing a silent play
155(2)
Sound and music
157(9)
Working with texts
166(8)
Light
174(2)
A short glossary of terms
176(4)
Bibliography 180(8)
Index 188
Maria Shevtsova is Professor of Drama and Theatre Arts at Goldsmiths, University of London. Her books include Dodin and the Maly Drama Theatre: Process to Performance (2004), Fifty Key Theatre Directors (2005), Sociology of Theatre and Performance (2009), Directors/Directing: Conversations on Theatre (co-authored, 2009) and The Cambridge Introduction to Theatre Directing (co-authored, 2013). All her books have been translated into multiple languages, and she is co-editor of New Theatre Quarterly.