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uldjufio u avangardnu sredinu, uzavrell umetnlčkl svet, gde su sllkari, koreografl (posebno pionirl Merce Cunnlnghem, George Balanchine I Martha Graham), muzlčari I pozorlinl IJudl zajednlčkl konclpirali nove eksperimentalne umetnlčke forme, Može se rećl da je Robert Wilson uspeo, Ako bl trebalo navestl pet redltelja ko]l su za ovlh poslednjlh trideset godina ostavlll svo| žlg na zapadnom pozorlštu, Robert Wilson bl svakako bio jedan od njih. Njegova bezuslovna mlnlmallstlčka estetlka se ne može zanemartH. Ona Je Imala I |oš Ima dubokog utlcaja na sve kreatlvne pozorlšne stvaraoce zapadnlh zemalja od iezdesetlh godina. Übrzo po dolasku u Njujork Wilson je okupio vlše umetnlka u trupu pod Imenom The Byrd Hoffman School of Byrds I nl)e mnogo trebalo da dve od njegovlh prvih predstava ugledaju dana u NJuJorku; Kralj Španlje l Život i doba Sigmunda Frojda. Robertu Wllsonu je medunarodno priznanje donela njegova prva “nema opera" Pogled gluvog (Deafman Glance), ostvarena u saradnjl s njegovlm usvojenlm slnom, mallm gluvonemlm Raymondom Andrewsom. U znak zahvalnostl, francuskl nadreallsta Louis Aragon mu Je Iz Parlza naplsao plsmo u kome se može pročltatl; “Vi ste nastavljač o kome smo sanjall, kojl treba dalje da vodl naše radove I da Ih prevazlde". Već sledećlh godina Wilson nastavlja Istrazlvanje Jezlka. Ishod je nova “nema opera”, predstava u trajanju od 12 časova nazvana Život i doba Josifa Staljina, koja ga, umesto da se dopadne, tera Iz pozorlšta protestlma publike. To je posebno Izraieno na predstavl dela u Ny Tester u Kopenhagenu, sredlnom sedamdesetlh. Šlroku publiku upoznaje a Robertom Wilsonom tek njegova plonlrska predstava Ajnštajn na plaži, za koju Je muzlku naplsao Philip Glass. Delo je Igrano na Festlvalu u Avlnjonu I u Metropolitan operl u Njujorku, a na 10. BITEF-u 1976. Ostatak sveta ju Je mogao vldetl prlllkom dve svetske turneje 1984.11992. Tako Je Wllsonu obezbeđen prlstup evropskom pozorlštu I njegove predstave su se 6esto prlkazivale na Jesenjem festlvalu u Parlzu, u Pozorlštu "Talija" u Hamburgu 1 Schaubuhne u Berllnu. U Danskoj je Robert Wilson poznat pre svega po mjuzlklu Black Rider, plsanom kao prvl deo trlloglje za Pozorište "Talija". Druga dva komada trlloglje su Alisa I Time Rocker. Crni jahač, raden u saradnjl s muzlčarem Tomom Waltsom I pesnlkom Wllllamom S. Burroughsom, fantastlčna Je bajka u sllkama, koja danas dožlvljava trljumf u celoj Evropl. Prošle godlne Je veoma uspešno prlkazlvana u Pozorlštu “Betty Nansen", u verzljl redltelja Katrine Wledeman I llkovnog umelnlke Mlchaela Kvluma, a krltlka Ju Je uzdlzala do neba. Oslm svoje saradnje s Tomom Waltsom 1 Wllllamom S. Burroughsom, Robert Wilson tesno sarađuje s druglm razllčltlm medunarodno prlznatlm umetnlclma, dramsklm plsclma 1 kompozltorlma. S nemačklm dramsklm plscem Helnerom MQllerom ostvarlo Je The CIVIL warS, Hamletmaschine I Quartet. Pevač David Byrne učestvovao Je u The Knee Plays, odlomku Iz The CIVIL warS, potom u The Forest, predstavl postavljenoj prlllkom 750. godlšnjlce Berlina. Cosmopolitan Greetings Je režlran u saradnjl s pesnlkom Allenom Glnsbergom, a sa umetnlcom Laurie Anderson Wilson tumačlo Je Evrlpldovog Alkesta.

works within theatre, music, dancing, and visual art. Besides his work as a director Robert Wilson's drawings, paintings, and sculptures have been on display at numerous exhibitions. In addition Robert Wilson has received a number of International awards and honours. FACTS ON WILSON Performances; The King of Spain , 1969; The Life and Times of Sigmund Freud, 1969; Deafman Glance, 1971; KA MOUNTain and GUARDenIa Terrace, 1972; The Life and Times of Josef Stalin, 1973; A Letter for Queen Victoria, 1974/1975; Einstein on the Beach, 1976; death, destruction and detroit, 1979; Great Day in the Morning, 1982; the CIVIL warS: a tree is best measured when It is down, 1984; Alcestis, 1986; Hamletmaschine, 1986; Quartet, 1987; death, destruction and detroit 11, 1987; The Forest, 1988; The Cosmpolitan Greetings, 1988; The Black Rider, 1991; Alice, 1992; Alice in Bed, 1993; Time Rocker, 1996; Lady from the Sea, 1998; Scourge of Hyacinths, 1999; THE DAYS BEFORE: death, destruction and detroit 111, 1999; Roe-try, Febr. 2000; Woyzeck, Nov. 2000 Director of classical operas; Wagnehs Parsifal, Hamburg 1991, Mozart's The Magic Flute, Paris 1991; Wagner's Lohengrin, Zurich 1991 and New York 1998; Puccini's Madame Butterfly, Paris 1993-1997; Wagner's Das Rheingold, Oct. 2000. Director and Interpreter of classical dramas; Orlando by Virginia Woolf, 1989 and 1996; La Maladle de ta Mort by Marguerite Duras, 1991 and 1996; When We Dead Awaken by Henrik Ibsen, 1991; Doctor Faustus Lights the Light, 1992; Four Saints in Three Acts, 1996 and Saints and Singingby Gertrude Stein, 1997; Glucks Orphee and Alceste, 1999. KATHLEEN BRENNAN Kathleen Brennan has co-operated with her husband, Tom Walts, for the last 20 years In relation to music, recordings, movies and theatre. Woyzeck Is her second collaboration with Robert Wilson and Tom Walts-the first one was the performance Alice, However, Kathleen Brennan Is first and foremost a mother. In addition she has published poems and short stories and worked as a Journalist. “Kathleen and I, we're like Pllnk and Plank. I call her "Pllnk" and she calls me “Plank". I certainly don't have any formal background In music. When you say you're doing an opera, It's like when you're a seven-year-old and say, "I'm off to Washington, Dad." You kind of go, "Sure. Sure you are, son." We still go Into a room and sit at the piano and go pllnk... and... plank. And that's what the songs come out of." TOM WAITS (bom 1949) “From the beginning there was this fascination that I really can't explain, because It's so complicated. It's funny, It's sad, It's grandiose, It's touching, It's elegant - I don't know what It Is but that's his signature, his personality."