2025年8月1日 星期五

羅伯.威爾森(Robert Wilson)過世(陳玉慧 悼念) Robert Wilson Expanded Our Sense of Theatrical Possibility


Robert Wilson, wearing all black, poses on the empty stage of a theater.
Wilson’s work was precisely calibrated yet open-ended in its possible meanings. Credit...Julien Mignot for The New York Times

A black-and-white historical image of performers on the spare set of an opera, made up of beams of light.
Wilson’s “Lohengrin” at the Metropolitan Opera.Credit...Winnie Klotz


但他的作品在巔峰時期,如同來自另一個世界的夢幻幽靈。然而,它們也蘊含著深刻的人性,體現在童真的好奇心、令人喜愛的希望、烏托邦式的「讓我們上演一場秀」的衝動,以及那些開闊的舞台。

威爾森最擅長的是視覺效果,而非文字;他所使用的文字,往往是由他人的聲音拼貼而成。在《愛因斯坦》的最後時刻,他邀請77歲的演員山繆·M·約翰遜創作。

在核子浩劫的殘酷場景之後,約翰遜坐在舞台上的一輛巴士上,朗誦了一段簡短而甜蜜的愛情故事。 “他們對彼此的愛如此深厚,”他輕聲吟誦道,“無需言語便可表達。”

在最後的片段中,《愛因斯坦》從徹底的毀滅走向純粹的溫柔。這很容易讓人覺得多愁善感,但經過這麼多時間,那種辛酸——從災難中重現純真,從世故中重現單純——真的讓人心碎。



But at their best, his works felt like dreamlike apparitions from another world. They were also, though, deeply human in their childlike wonder, their endearing hopefulness, their utopian let’s-put-on-a-show impulse, those wide-open stages.

Wilson was most comfortable working in visuals, not text; to the extent he used words, they were often collages formed from the voices of others. For the final moments of “Einstein,” he asked Samuel M. Johnson, a 77-year-old performer, to write something.

After the ferocious scene of nuclear holocaust, Johnson sat in a bus onstage and recited a brief, sweet love story. “So profound was their love for each other,” he gently intoned, “they needed no words to express it.”

“Einstein” moves in this last sequence from complete destruction to pure tenderness. This could easily come across as sentimental, but after all those hours, the poignancy — the emergence of innocence from catastrophe, of simplicity from sophistication — just breaks your heart.




An Appraisal

Robert Wilson Expanded Our Sense of Theatrical Possibility

Wilson, who died this week at 83, created works of otherworldly dreaminess that were also deeply human.

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“Einstein on the Beach,” Robert Wilson’s influential collaboration with the composer Philip Glass from 1976. It was revived at the Brooklyn Academy of Music in 2012.Credit...Sara Krulwich/The New York Times

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