American - Director | October 4, 1941 -
I met a 13-year-old black child, Raymond, who had never been to school and had never learnt any words, yet it seemed to me that he was intelligent. It became apparent after a short period that Raymond thought in terms of visual signs and movements.
Robert Wilson
WordsSchoolChildMeBlackThought
The French, not the Americans, commissioned 'Einstein on the Beach.'
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In my theater, I'm not trying to change the world.
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I think that in my plays you can come in for 20 minutes and get something out of it. I'd like to do a play that would run for days. I don't think time is that important. Nature doesn't hurry the sky, the changing clouds and sunsets.
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When works get too intellectual, they lose their intensity.
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The mind is a muscle.
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I think it's just my nature. I can't work on one thing. I have to work on many things.
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When I was 12 years old, I went to Natchitoches, La.; it was summer vacation with my family. We visited a plantation, Melrose. And I met an Afro-American woman who was a painter. I already had some idea of what I wanted to do in life, and one of the things that interested me was painting.
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I learned loudness from working with Lou Reed.
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At the end of the 1960s, I was part of the downtown theatrical movement in New York that was making work in alleyways, garages, gyms, churches, non-traditional spaces. The idea was to get away from the illusion of the conventional theatre. But then I thought, what's wrong with illusion?
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The first year I was in New York, I met Martha Graham. She said, 'Well, Mr. Wilson, what do you want to do in life?' I was 21 years old, and I said, 'I have no idea.' And she said, 'If you work long enough and hard enough, you'll find something.'
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It's important that we have the traditional operas and the repertory, but we should also have something new.
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