Robert Wilson (director) - Works

Works

  • The King of Spain, 1969
  • The Life and Times of Sigmund Freud, 1969
  • Deafman Glance (with Raymond Andrews), 1971
  • KA MOUNTain and GUARDenia Terrace, 1972
  • The Life and Times of Joseph Stalin, 1973
  • A Letter For Queen Victoria, 1974
  • Einstein on the Beach (with Philip Glass), 1976
  • I Was Sitting On My Patio This Guy Appeared I Thought I Was Hallucinating (with Lucinda Childs), 1977
  • Death Destruction & Detroit, 1979
  • Edison, 1979
  • The Golden Windows (Die Goldenen Fenster), 1979
  • Stations, 1982
  • the CIVIL warS: a tree is best measured when it is down, 1984
  • Shakespeare's King Lear, 1985
  • Heiner Müller's Hamletmachine, 1986
  • Euripides' Alcestis, 1986-1987
  • Death Destruction & Detroit II, 1987
  • Heiner Müller's Quartett, 1987
  • Le martyre de Saint Sébastien, 1988
  • Orlando (from the novel by Virginia Woolf), 1989
  • Louis Andriessen's De Materie, 1989
  • The Black Rider (with William S. Burroughs and Tom Waits), 1990
  • Richard Wagner's Parsifal, Hamburg, 1991
  • Alice (with Tom Waits and Paul Schmidt), 1992
  • Gertrude Stein's Doctor Faustus Lights the Lights, Hebbel Theatre (Berlin) 1992
  • Skin, Meat, Bone (with Alvin Lucier), 1994
  • The Meek Girl (based on a story by Fyodor Dostoyevsky), 1994
  • Timerocker (with Lou Reed), 1997
  • O Corvo Branco, (with Philip Glass), Teatro Camões (Lisbon), 1998
  • Monsters of Grace (with Philip Glass), 1998
  • Lohengrin for the Metropolitan Opera, 1998
  • Bertolt Brecht's The Flight across the Ocean for the Berliner Ensemble, 1998
  • The days before - Death Destruction & Detroit III, (with Ryuichi Sakamoto), Lincoln Center 1999
  • Richard Wagner's Der Ring des Nibelungen, Zurich Opera
  • POEtry, (with Lou Reed), 2000
  • Hot Water (with Tzimon Barto), 2000
  • Persephone, 2001
  • Georg Büchner's Woyzeck (with Tom Waits), 2002
  • Richard Strauss's Die Frau ohne Schatten, Opéra National de Paris (Opéra Bastille), 2002
  • Isamo Noguchi exhibition, 2003
  • The Temptation of Saint Anthony (with Bernice Johnson Reagon) Opéra National de Paris, 2003
  • I La Galigo, 2004
  • Jean de La Fontaine's The Fables, 2005
  • Ibsen's Peer Gynt, 2005 (in Norway)
  • Büchner's Leonce and Lena
  • VOOM Portraits, exhibition, 2007 at ACE Gallery in Los Angeles, CA
  • Brecht's The Threepenny Opera, Berliner Ensemble, 2007
  • Beckett's Happy Days, 2008
  • Rumi, Polish National Opera, 2008
  • Faust for the Polish National Opera, 2008
  • Sonnets (based on Shakespeare's Sonnets with music by Rufus Wainwright), Berliner Ensemble, 2009
  • , (a performance/portrait of choreographer and dancer Suzushi Hanayagi), 2009
  • Carl Maria von Weber's Der Freischütz, Festspielhaus Baden-Baden, conductor Thomas Hengelbrock, 2009
  • Beckett's Krapp's Last Tape, 2009
  • L'Orfeo, by Claudio Monteverdi, La Scala, Milan 2009
  • Káťa Kabanová, by Leoš Janáček, Národní Divadlo, Prague 2010
  • Věc Makropulos, by Karel Čapek, Stavovské Divadlo, Prague 2010
  • 2010 : Oh les beaux jours de Samuel Beckett, Théâtre de l'Athénée Louis-Jouvet
  • The Life and Death of Marina Abramovic, with Marina Abramovic, Manchester International Festival, 9–16 July 2011, The Lowry, Manchester
  • Il ritorno d'Ulisse in patria, by Claudio Monteverdi, La Scala, Milan 2011
  • Claude Debussy's Pelléas et Mélisande, Teatro Real de Madrid, 2011

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Famous quotes containing the word works:

    “The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.”
    —Freya Stark (b. 1893–1993)

    “I lay my eternal curse on whomsoever shall now or at any time hereafter make schoolbooks of my works and make me hated as Shakespeare is hated. My plays were not designed as instruments of torture. All the schools that lust after them get this answer, and will never get any other.”
    —George Bernard Shaw (1856–1950)

    “I shall not bring an automobile with me. These inventions infest France almost as much as Bloomer cycling costumes, but they make a horrid racket, and are particularly objectionable. So are the Bloomers. Nothing more abominable has ever been invented. Perhaps the automobile tricycles may succeed better, but I abjure all these works of the devil.”
    —Henry Brooks Adams (1838–1918)