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:

    “Reason, the prized reality, the Law, is apprehended, now and then, for a serene and profound moment, amidst the hubbub of cares and works which have no direct bearing on it;Mis then lost, for months or years, and again found, for an interval, to be lost again. If we compute it in time, we may, in fifty years, have half a dozen reasonable hours.”
    —Ralph Waldo Emerson (1803–1882)

    “We all agree now—by “we” I mean intelligent people under sixty—that a work of art is like a rose. A rose is not beautiful because it is like something else. Neither is a work of art. Roses and works of art are beautiful in themselves. Unluckily, the matter does not end there: a rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.”
    —Clive Bell (1881–1962)

    “One of the surest evidences of an elevated taste is the power of enjoying works of impassioned terrorism, in poetry, and painting. The man who can look at impassioned subjects of terror with a feeling of exultation may be certain he has an elevated taste.”
    —Benjamin Haydon (1786–1846)