Seminar paper from the year 2019 in the subject Art – Installation / Action/Performance Art / Modern Art, grade: 9/10, University of Groningen (Arts), course: Arts, Culture and Media, language: English, abstract: This essay will investigate some theatrical aspects of Robert Wilson’s work that make up what Lehmann terms ‘Landscape theatre’ and analyze them according to his concept of Post-dramatic theatre articulated in his book ‘Post-Dramatic Theatre’ from 1999.
In order to do this, first, the Post-dramatic theory of Lehmann will be examined and the various features that make up Post-dramatic theatre will be scrutinized. Next, Lehmann’s articulation of Landscape theatre along with three important aspects that it comprises off will be analyzed as post-dramatic performance conventions: the use of ‘images’, metamorphoses, and the distortion of time. This will be done using predominantly Lehmann’s theory, as well as input from other theatre scholars and supported by examples from Wilson’s performances. A conclusion will be drawn regarding how these conventions work together in Wilson’s work to provide the audience with a true Post-dramatic theatre experience.
Robert Wilson is an internationally acclaimed experimental theatre stage director. His style of theatre is referred to as ‘Theatre of Visuals’ or ‘Theatre of Images’ coined by New York based critic, Bonnie Marranca (Hurstfield). Since the 1960s, Wilson’s productions have had a significant influence on the world of theatre and opera. Theatre of Images is Wilson’s endeavor at freeing the audience from text specific interpretations, which he found prevalent in Western theatre. He wanted to create theatre where the audience was free to ‘explore individual meanings from his visual and aural experiences'(Hurstfield).
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