During the late 19th and the early 20th centuries, there was a movement away from preexisting verbal language-based theatre, toward nonverbal performances which took on the character of total theatre and used various audio-visual effects. Within this historical context, Robert Wilson began to formul...
During the late 19th and the early 20th centuries, there was a movement away from preexisting verbal language-based theatre, toward nonverbal performances which took on the character of total theatre and used various audio-visual effects. Within this historical context, Robert Wilson began to formulate the ‘theatre of images’ which might be regarded as analogous to Richard Wagner's Gesamtkunstwerk. The best-known directors of the theatre of images, Richard Foreman, Lee Breuer, and Robert Wilson construct their mise-en-scènes in their own ways. Foreman seeks to break free from conventional ideas of theatrical styles by means of his own ‘framing devices.’ He uses these ‘framing devices’ not only to emphasize particular acts of things or words, but also to impede the audience's emotional streams, by presenting fragmented and deconstructed stage structures. Other examples include the uses of moving pictures, microphones, and ropes; these appear in his stage pictures as framing devices. Through found languages, Breuer has devised his ‘tracking techniques’ with his own writing method. His style realized through this tracking consists of autonomous languages and takes the form of a prose poem; the actors deliver it the audience so as to stimulate their metaphoric association processes. Wilson's ‘layering style’ consists in his simultaneous juxtaposition of numerous independent images on the stage. Those images appear simultaneously on his stage, interacting with each other and constituting clearer imageries to be presented to the audience. Inspired by his childhood experiences and the people he has met, Wilson constructs a body language. He had an impediment in his speech until the age of 17, when he met Miss Byrd Hoffman. Through her program, he practiced slow motions, learned to control external actions, and discovered his own ‘language of movement.’ In addition, when he saw Daniel Stern's research videos containing slow motions of babies and their mothers, he realized that things imperceptible to humans during daily life could be perceived if shown in slow motion. His relationship with the deaf boy Raymond Andrew whom he met by chance in 1967 led him to find that ‘everybody sees and hears in two different dimensions.’ They can be referred to as an ‘interior screen’ and an ‘exterior screen,’ which become the moments being delivered to the audience through slow and repetitive movements. Wilson creates his own performance scripts with texts and sketches for stage; the texts function as the aural while the sketches as the visual. Language is articulated and repeated to go beyond its function as a communicator of content and to make an aural images. This language is heard through microphones attached to the actors' bodies and loudspeakers; or it expands beyond the actors' mouths by recording, rewinding, and playing the articulated language. His work with Christopher Knowles has had an important effect on such articulated and destroyed language. Knowles who had an autism built and destroyed words as if he was building blocks, creating his own language. This inspired Wilson to use it in his theatre. Like other images, Wilson views lighting as an independent image. He uses it to divide the stage into different areas, as well as to highlight the bodies of the actors. He sometimes uses fire as lighting to produce images. Wilson rejects traditional western methods of actor training. He wants his actors to break the mold and to express themselves freely through unrestricted use of their bodies and open thinking. For this reason, Wilson usually chooses amateur actors whenever possible, who are ordinary people with other professional backgrounds. Some of them are invited to be in his play when they happen to meet him on the street or come to visit him; one of them was working in a restaurant when Wilson went to eat there. The members of the Byrd Hoffman School of Byrds formed in 1968 were also nonprofessional actors. They are like an extended family, ranging in age from a young child to an old grandparent. They keep working with Wilson until the breakup of the Byrd Hoffman School in 1975. The Byrd Hoffman Foundation still supports his productions and archives his past performances. Through dispersion of audio-visual images, slow and repetitive movements of the actors, and many hours of a production, Wilson intends to distract the audience from concentrating on the play. Also, he gives them an opportunity to freely enjoy the play, by presenting them with a variety of images. In other words, he presents the audience with new plays which leads them break free from routine thinking to experience free and open thinking. In addition, his images allow the audience to perceive them from different perspectives so that the same image can be perceived differently by each viewer. Through the sheer beauty of theatrical visions and the dreamy actions, Wilson stimulates the audience's imagination and provides them with an experience different from anything they have ever experienced in a theatre before.
During the late 19th and the early 20th centuries, there was a movement away from preexisting verbal language-based theatre, toward nonverbal performances which took on the character of total theatre and used various audio-visual effects. Within this historical context, Robert Wilson began to formulate the ‘theatre of images’ which might be regarded as analogous to Richard Wagner's Gesamtkunstwerk. The best-known directors of the theatre of images, Richard Foreman, Lee Breuer, and Robert Wilson construct their mise-en-scènes in their own ways. Foreman seeks to break free from conventional ideas of theatrical styles by means of his own ‘framing devices.’ He uses these ‘framing devices’ not only to emphasize particular acts of things or words, but also to impede the audience's emotional streams, by presenting fragmented and deconstructed stage structures. Other examples include the uses of moving pictures, microphones, and ropes; these appear in his stage pictures as framing devices. Through found languages, Breuer has devised his ‘tracking techniques’ with his own writing method. His style realized through this tracking consists of autonomous languages and takes the form of a prose poem; the actors deliver it the audience so as to stimulate their metaphoric association processes. Wilson's ‘layering style’ consists in his simultaneous juxtaposition of numerous independent images on the stage. Those images appear simultaneously on his stage, interacting with each other and constituting clearer imageries to be presented to the audience. Inspired by his childhood experiences and the people he has met, Wilson constructs a body language. He had an impediment in his speech until the age of 17, when he met Miss Byrd Hoffman. Through her program, he practiced slow motions, learned to control external actions, and discovered his own ‘language of movement.’ In addition, when he saw Daniel Stern's research videos containing slow motions of babies and their mothers, he realized that things imperceptible to humans during daily life could be perceived if shown in slow motion. His relationship with the deaf boy Raymond Andrew whom he met by chance in 1967 led him to find that ‘everybody sees and hears in two different dimensions.’ They can be referred to as an ‘interior screen’ and an ‘exterior screen,’ which become the moments being delivered to the audience through slow and repetitive movements. Wilson creates his own performance scripts with texts and sketches for stage; the texts function as the aural while the sketches as the visual. Language is articulated and repeated to go beyond its function as a communicator of content and to make an aural images. This language is heard through microphones attached to the actors' bodies and loudspeakers; or it expands beyond the actors' mouths by recording, rewinding, and playing the articulated language. His work with Christopher Knowles has had an important effect on such articulated and destroyed language. Knowles who had an autism built and destroyed words as if he was building blocks, creating his own language. This inspired Wilson to use it in his theatre. Like other images, Wilson views lighting as an independent image. He uses it to divide the stage into different areas, as well as to highlight the bodies of the actors. He sometimes uses fire as lighting to produce images. Wilson rejects traditional western methods of actor training. He wants his actors to break the mold and to express themselves freely through unrestricted use of their bodies and open thinking. For this reason, Wilson usually chooses amateur actors whenever possible, who are ordinary people with other professional backgrounds. Some of them are invited to be in his play when they happen to meet him on the street or come to visit him; one of them was working in a restaurant when Wilson went to eat there. The members of the Byrd Hoffman School of Byrds formed in 1968 were also nonprofessional actors. They are like an extended family, ranging in age from a young child to an old grandparent. They keep working with Wilson until the breakup of the Byrd Hoffman School in 1975. The Byrd Hoffman Foundation still supports his productions and archives his past performances. Through dispersion of audio-visual images, slow and repetitive movements of the actors, and many hours of a production, Wilson intends to distract the audience from concentrating on the play. Also, he gives them an opportunity to freely enjoy the play, by presenting them with a variety of images. In other words, he presents the audience with new plays which leads them break free from routine thinking to experience free and open thinking. In addition, his images allow the audience to perceive them from different perspectives so that the same image can be perceived differently by each viewer. Through the sheer beauty of theatrical visions and the dreamy actions, Wilson stimulates the audience's imagination and provides them with an experience different from anything they have ever experienced in a theatre before.
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