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The Threepenny Opera : Drawings

The Threepenny Opera : Drawings PERFORMANCE DRAWINGS A drawing by Robert Wilson for his production of The Threepenny Opera. Ink and watercolor on paper, 120 x 80. Photo: Courtesy Robert Wilson. THE THREEPENNY OPERA Drawings Robert Wilson (Editor’s Note: This issue of PAJ inaugurates a new series, Performance Drawings, with the designs by Robert Wilson for his staging of the Brecht-Weill classic, The Threepenny Opera, which premiered on September 27, 2007, at the Berliner Ensemble, home of the original 1928 production. In future issues drawings from performance and visual arts, including forms of musical and dance notation, will be featured in special portfolios.) W ith all of my work I see the stage abstractly. I start the sketches and drawings first. Once I know the space it is much easier for me to decide what to do in it. I made a decision at the beginning to have the stage space constructed with lines of light. There are only two lines in the world, a straight one and a curved one. The first scene is a series of circles fading in and out as in a carnival or fairground (curved lines). The final scene is framed by a draped red curtain (curved lines). http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

The Threepenny Opera : Drawings

PAJ: A Journal of Performance and Art , Volume 30 (1) – Jan 1, 2008

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Publisher
MIT Press
Copyright
© 2008 Robert Wilson
Subject
Performance Drawings
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj.2008.30.1.31
Publisher site
See Article on Publisher Site

Abstract

PERFORMANCE DRAWINGS A drawing by Robert Wilson for his production of The Threepenny Opera. Ink and watercolor on paper, 120 x 80. Photo: Courtesy Robert Wilson. THE THREEPENNY OPERA Drawings Robert Wilson (Editor’s Note: This issue of PAJ inaugurates a new series, Performance Drawings, with the designs by Robert Wilson for his staging of the Brecht-Weill classic, The Threepenny Opera, which premiered on September 27, 2007, at the Berliner Ensemble, home of the original 1928 production. In future issues drawings from performance and visual arts, including forms of musical and dance notation, will be featured in special portfolios.) W ith all of my work I see the stage abstractly. I start the sketches and drawings first. Once I know the space it is much easier for me to decide what to do in it. I made a decision at the beginning to have the stage space constructed with lines of light. There are only two lines in the world, a straight one and a curved one. The first scene is a series of circles fading in and out as in a carnival or fairground (curved lines). The final scene is framed by a draped red curtain (curved lines).

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: Jan 1, 2008

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