Father of Experimental Theatre, Robert Wilson, produces Albee’s “Three Tall Women” in Athens, Greece

Structured around the fundamental questions of self and mortality, Albee's sarcastic work is inspired by the character of his own mother. Faced with the end of her life, Robert Wilson masterfully chronicles the imprint of time, highlighting the multiple reflections produced by the mirror of life.

Wilson himself has described the project as “a real challenge. It is completely different from anything that I have done in my career, a play that is written naturalistically with a lot of chit-chat.”
The actor’s performance is captivating with magnificent costumes depicting the period by Flavia Rougerri, Flavio Pezzoti’s stage design reminds one of a scene from a Dali painting, coupled with the lighting design and the music score by Theodoris Ekonomou sets the mood.
We caught up with Robert Wilson to learn more;
YD: You were invited to Greece to direct and produce “Three Tall Women”, at the historical Metropolitan Theatre of Pireaus, tell us about this invitation and choice of Edward Albee's 'Three Tall Women’,
RW: It was an out-of-the-blue suggestion and not suited to me, but sometimes it is right to do the wrong thing.
YD: Do you have a personal connection to this play in particular? -
RW: I knew Edward Albee
YD: How difficult was it to produce and direct it in the Greek language?
-RW: I have been staging in languages I do not know all my life, all I need is a knowledge of the text and that is enough.
YD: Tell us about your experience with Greek actors;
-RW: One of the best experiences I have had in years, they were so great.
YD: I have noticed a recurring theme of repetition in your work, with the script and music scores, what is the impact you want the audience to experience from this method?
-RW: The exchange with others, we can come together as one with differing world views.
YD: The set design was magnificent, it really brought a sense of peace despite the contrast of chaos between the actors, is this intentional?
RW: To me, the sets are like characters.

YD: Have you ever visited Greece, and if yes, as an artist what was your experience?
RW: I love Greece for many reasons, but in particular because of the light, Piraeus because of the sea.
YD: Have ancient Greek playwrights influenced you, and if yes, how? Who is your favorite?
RW I enjoy them all, my work is similar to old Greek plays
YD: You grew up in Texas, and after studying architecture you moved to New York, how did your experience in New York shape you as a young artist?
RW: I liked growing up in New York with so many different cultures, a library of information.
YD: What artists did you relate to at the time? -
RW: John Cage.
YD: One of your greatest work was “Deafman Glance” which gave you a whole new audience and acclaim for your experimental theatre, how have you applied this style since to the rest of your work?.

RW: Deafman Glance taught me to hear sounds by feeling them with my body and to read visual signs and signals as a language.

YD: Would you like to see this play produced on Broadway?
- I do not think Broadway will ever produce my work.
YD: As a young artist, you were fortunate to have the support and advice from the legendary modern dance theatre pioneer, Martha Graham; what advice do you have for the new generation vanguard artists?
RW: She told me in my early 20s, if you work long and hard enough, you will find something. This is my advice to young people...
Picture Source: https://robertwilson.com/news/2023/3/27/its-official-three-tall-women-in-piraeus