Theatrical Work
In addition to his better known film work, Wiseman has also directed and been involved in theater, in the US and France.
- "Emily Dickinson, La Belle d’Amherst" (The Belle of Amherst) by William Luce. Le Theatre Noir, Paris, Director, May-July, 2012
- “Oh Les Beaux Jours” (Happy Days) by Samuel Beckett. La Comedie Francaise, Paris. Director, November – January 2006; Director & Actor, Jan-March 2007.
- “The Last Letter” an adaptation from the novel Life and Fate by Vasily Grossman Theatre for a New Audience, New York. Director, December 2003
- “The Last Letter” an adaptation from the novel Life and Fate by Vasily Grossman. North American Tour with La Comedie Francaise production (Ottawa/Toronto, Canada; Cambridge/Springfield, MA; New York, NY; Chicago, IL) Director, May-June 2001
- “The Last Letter” an adaptation from the novel Life and Fate by Vasily Grossman. La Comedie Francaise, Paris. Director, March-April 2000, September-November, 2000
- “Welfare: The Opera,” story by Frederick Wiseman and David Slavitt, libretto by David Slavitt, music by Lenny Pickett. St. Anne’s Center for Restoration and the Arts, New York. Director, May 1997
- “Welfare: The Opera,” story by Frederick Wiseman and David Slavitt, libretto by David Slavitt, music by Lenny Pickett. American Music Theater Festival, Philadelphia. Director, June 1992
- “Hate” by Joshua Goldstein. American Repertory Theatre, Cambridge. Director, January 1991
- “The Last Letter” an adaptation from the novel Life and Fate by Vasily Grossman. American Repertory Theatre, Cambridge. Director, May 1988
- “Tonight We Improvise” by Luigi Pirandello. American Repertory Theatre, Cambridge. Director of video sequences and actor in role of documentary filmmaker, November 1986-February 1987
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Famous quotes containing the words theatrical and/or work:
“But then in novels the most indifferent hero comes out right at last. Some god comes out of a theatrical cloud and leaves the poor devil ten thousand-a-year and a title.”
—Anthony Trollope (1815–1882)
“The Taylor and the Painter often contribute to the Success of a Tragedy more than the Poet. Scenes affect ordinary Minds as much as Speeches; and our Actors are very sensible, that a well-dressed Play has sometimes brought them as full Audiences, as a well-written one.... But however the Show and Outside of the Tragedy may work upon the Vulgar, the more understanding Part of the Audience immediately see through it, and despise it.”
—Joseph Addison (1672–1719)