Robert Wilson
The Shakespeare Sonnets
En la colaboración de Robert Wilson con
el Berliner Ensamble, surge la escenificación de los sonetos de Shakespeare.
Está en juego el travestismo isabelino,
esta vez revertido para asegurar en el espectador que nada de lo que ve es
realmente lo que ve.
Más allá del travestismo, los rasgos
faciales de los actores y actrices se encuentran totalmente borrados por
maquillajes blancos que cubren todo rastro de piel en todos. De este modo el
espectador es forzado a encontrar la sexualidad en otro lado.
Tampoco serán los
movimientos del personaje los que puedan dictarle el sexo. Algunos vestuarios
incluyen elementos que quisiéramos significaran género, pero se niegan a darlo.
El maquillaje, en extremo teatral,
La reina no baila, sin embargo mueve los
pies. Es un hombre quien la actúa, Jürgen Holtz.
El montaje que muestra una escenografía
raquítica, exacta, perfeccionista, de filos exactos, por otro lado, el montaje es
extremadamente sensual. Los personajes comen y escupen, acarician, cantan y los
sonidos se detienen en sus cuerdas vocales haciendo acrobacias.
Production Matters: Staging Shakespeare's Sonnets
Celebrating
Shakespeare's sonnets 400th anniversary, Robert Wilson staged with the Berliner
Ensemble 25 of the sonnets in 2009. Each sonnet is played to the music of Rufus
Wainwright and the musical styles vary from heavy metal to folk medieval music.
"For Wilson, however, cross-border
perception, for creator and spectator alike, can only be positive since it
calls upon unexercised dimensions of the imagination." (Shevtsova, p.3)
"Whether Wilson’s works actually
have semantic content and meaning or are purely ‘aesthetic’ constructions has
remained a problematical issue ever since." (Shevtsova, p.5)
"liberated spectators to discover
the ‘discoveries’ of the artists by themselves" (Richard Foreman, Village
Voice, 1 January 1970 cited by Shevtsova, p. 8)
"there was the ‘hidden’ link to
Freud" (Shevtsova, p. 8)
Bob Wilson became the man of the future
as dreamt by the Surrealists, as Aragon described Deaf Man's Glance in a letter
to Andre Breton.
He continuously recycles material.
'His muse during these several years was
the young deaf–mute Raymond Andrews whom he had adopted and whose capacity to
order the world in pictures had confirmed his belief that language was not
indispensable for knowledge and communication.' (Shevtsova, p. 10)
"Wilson was to build a more
devoted audience still in Germany where his work continues to be commissioned
and received." (Shevtsova, p. 14)
"Newnam’s glowing rods and
expanses of colour for which Wilson has found the equivalent, with light, for
the stage." (Shevtsova, p. 16)
"It was the spectator’s job, she
asserted, ‘to make sense of what he sees and to decide if it’s chaos or order,
formed or formless, or if that matters’" (quoted in Shank, 2002: 134).
'within the multiple transparent
superimpositions of images, the body is not privileged but treated as one
material, one cipher, among others.' (Birringer 1991: 224)
' during
rehearsals Wilson often used abstract, painterly language such as, “this scene
needs more air.”' (Halperin-Royer, p. 322)
'His
audio-landscapes―strongly reminiscent of cinematic practices―with the
parallelism of images and speech patterns turn on the destruction of hierarchy.'
(Schmidt, p. 76)
'It is
only through associative processes that an interpretation of the stage
presentations can be attempted.' (Schmidt, p. 76)
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