Robert Wilson Quotes
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My tax dollar, which goes to New York State Council on the Arts, is by and large only spent to fund people from the state of New York! And you want to be the cultural capital of the world?
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If you slow things down, you notice things you hadn't seen before.
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Some years ago, I was invited to speak in Houston, Texas. They said I was a founder of 'postmodern theatre'. So I said to my office, 'This is ridiculous for me to go and speak about postmodern theatre when I don't know what it means, but... they're paying me a lot of money, so I'll go.'
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I think people are looking for an alternative to the fast pace of everyday life and entertainment.
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New York is very provincial. They're very cut-off; they don't have an awareness of so much that is going on in the world.
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I always thought of the English landscape as being English gardens.
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My mother was a great typist. She said she loved to type because it gave her time to think. She was a secretary for an insurance company. She was a poor girl; she'd grown up in an orphanage, and she went to a business college - and then worked to put her brothers through school.
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What was very interesting to me about Clementine Hunter's work is that she couldn't read or write, and she has recorded history of the plantation life and the southern part of the U.S. - the cotton harvests, pecan picking, washing clothes, funerals, marriages - in pictures.
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The landscape of Texas is in all my work. It's that light; it's that sky.
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I had no idea I was going to have a career in the theater. I did not plan it.
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If you see the sunset, does it have to mean something? If you hear the birds singing does it have to have a message?
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When you're playing King Lear, you have to have a little humour, or you will have no tragedy when the king dies.
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In Europe, unlike the States, they have a cultural policy.
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I grew up in a town where there were no galleries, no museums, no theaters - a very religious, ultraconservative community.
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There are schools teaching 'stage decoration' as a subject, and they actually call it that. I say: 'Burn those schools!'
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I think that I've always been a kind of structured person.
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The reason you work as an artist is to stay open and ask questions.
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What interested me was dance - the way that it was constructed with time-space constructions, and that it was abstract. I always thought: 'Why couldn't theater be that way? Or an opera?'