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?'
The important question has nothing to do with whether the talk in your story is sacred or profane; the only question is how it rings on the page and in your ear. If you expect it to ring true, then you must talk yourself. Even more important, you must shut up and listen to others talk.
The writer probably knows what he meant when he wrote a book, but he should immediately forget what he meant when he's written it.
This is a writer’s lesson: To learn that the sounds that we imagine can be the clearest, loudest sounds of all.
Jazz is a very democratic musical form. It comes out of a communal experience. We take our respective instruments and collectively create a thing of beauty.
The poet, the artist, the sleuth, whoever sharpens our perception tends to antisocial; rarely 'well adjusted,' he cannot go along with currents and trends.
Reading a poem in translation is like kissing a woman through a veil.
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