The purpose of this paper is to try to understand, or play the ‘game of discovering’ (and share the ‘discoveries’) the bridges between the ‘spectacular’ and the texts – on which his work is based, trying to trace the path, or process, from John Donne’s Good Morrow to Eco’s The Island of the Other Day and to Wilson’s work on the stage and back to John Donne, from the point of view of the argument that the ‘spectaculars’, which we are bound by the ‘visual era ’ to appreciate, are not yet, as claimed, ready to appear completely free from the story and/or the text.
📌 3 Key Takeaways
🎯
Objective & Hypothesis:Robert Wilson’s work The Days Before, Death, Destruction, Detroit III, performed during the 12th International Istanbul Theatre Festival, encourages, once more, a discussion on the director’s understanding of the art of theatre.
📊
Key Findings & Data:Robert Wilson’s work The Days Before, Death, Destruction, Detroit III, performed during the 12th International Istanbul Theatre Festival, encourages, once more, a discussion on the director’s understanding of the art of theatre.
💡
Conclusion & Impact:The purpose of this paper is to try to understand, or play the ‘game of discovering’ (and share the ‘discoveries’) the bridges between the ‘spectacular’ and the texts – on which his work is based, trying to trace the path, or process, from John Donne’s Good Morrow to Eco’s The Island of the Other Day and to Wilson’s work on the stage and back to John Donne, from the point of view of the argument that the ‘spectaculars’, which we are bound by the ‘visual era ’ to appreciate, are not yet, as claimed, ready to appear completely free from the story and/or the text.
🔬Design:Research Article
📍Scope:Comprehensive Sample
⚙️Variables:Robert Wilson
Özet
Robert Wilson’s work The Days Before, Death, Destruction, Detroit III, performed during the 12th International Istanbul Theatre Festival, encourages, once more, a discussion on the director’s understanding of the art of theatre. The purpose of this paper is to try to understand, or play the ‘game of discovering’ (and share the ‘discoveries’) the bridges between the ‘spectacular’ and the texts – on which his work is based, trying to trace the path, or process, from John Donne’s Good Morrow to Eco’s The Island of the Other Day and to Wilson’s work on the stage and back to John Donne, from the point of view of the argument that the ‘spectaculars’, which we are bound by the ‘visual era ’ to appreciate, are not yet, as claimed, ready to appear completely free from the story and/or the text.
Öztürk, Ö. H. (2011). "Uzam Tanrının Bir Sıfatıdır". Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi, Sayı: 1, 107–113. https://ajindex.com/articles/174567