I never studied theatre; I learned it by doing it. If I had studied theatre, I would not be making the kind of theatre I am making.
Interpretation
Experience is a better teacher than traditional study.
Robert Wilson emphasizes the importance of practical experience over formal education in the realm of theatre. He suggests that actively engaging in the art form has led him to create unique works that might not have emerged from a conventional studying approach, highlighting the value of experiential learning in creative fields.
In practice
In an artist's talk about their creative process.
Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.
To me, what is important in the theater is that we don't want to make a conclusion. We don't want to make a statement, don't want to say what something is. We want to ask, 'What is it?'
Now and again thousands of memories _x000D_ converge, harmonize, _x000D_ arrange themselves around a central idea _x000D_ in a coherent form, _x000D_ and I write a story.
I think the best stories always end up being about the people rather than the event, which is to say character-driven.
The need to write comes from the need to make sense of one's life and discover one's usefulness.
I think having land and not ruining it is the most beautiful art that anybody could ever want to own.
Reruns are wonderful because it usually indicates that they had something going for them to begin with and that's why you're still looking at them. And in both my shows, The Dick Van Dyke Show and the last one, they were so well written and so good they hold up.
People call me the painter of dancers, but I really wish to capture movement itself.
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