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Chaos Theory and Robert Wilson: a Critical Analysis Of CHAOS THEORY AND ROBERT WILSON: A CRITICAL ANALYSIS OF WILSON’S VISUAL ARTS AND THEATRICAL PERFORMANCES A dissertation presented to the faculty of the College of Fine Arts Of Ohio University In partial fulfillment Of the requirements for the degree Doctor of Philosophy Shahida Manzoor June 2003 © 2003 Shahida Manzoor All Rights Reserved This dissertation entitled CHAOS THEORY AND ROBERT WILSON: A CRITICAL ANALYSIS OF WILSON’S VISUAL ARTS AND THEATRICAL PERFORMANCES By Shahida Manzoor has been approved for for the School of Interdisciplinary Arts and the College of Fine Arts by Charles S. Buchanan Assistant Professor, School of Interdisciplinary Arts Raymond Tymas-Jones Dean, College of Fine Arts Manzoor, Shahida, Ph.D. June 2003. School of Interdisciplinary Arts Chaos Theory and Robert Wilson: A Critical Analysis of Wilson’s Visual Arts and Theatrical Performances (239) Director of Dissertation: Charles S. Buchanan This dissertation explores the formal elements of Robert Wilson’s art, with a focus on two in particular: time and space, through the methodology of Chaos Theory. Although this theory is widely practiced by physicists and mathematicians, it can be utilized with other disciplines, in this case visual arts and theater. By unfolding the complex layering of space and time in Wilson’s art, it is possible to see the hidden reality behind these artifacts. The study reveals that by applying this scientific method to the visual arts and theater, one can best understand the nonlinear and fragmented forms of Wilson's art. Moreover, the study demonstrates that time and space are Wilson's primary structuring tools and are bound together in a self-renewing process. Each image is not the death of time and space but its own simulation, individual and singular. The study identifies some of the parallels between Wilson’s art, Chaos Theory and Postmodernism, specifically, their orientation towards chance and indeterminacy and their shared idea that nature and reality are unpredictable, because life itself is open to the unexpected and therefore always fresh and new. The dissertation ultimately seeks to promote communication across disciplines. Approved: Charles S. Buchanan Assistant Professor, School of Interdisciplinary Arts Dedicated to my parents, Mr. and Mrs. Anwar-ul-Haq, my husband Mian Manzoor Ahamd and son Muhammad Arslan Manzoor Acknowledgements I am most grateful to Dr. William F. Condee Director, School of Interdisciplinary Arts, for his invaluable administration, welcomed assistance, valuable comments and suggestions. I am immensely grateful to Dr. Charles S. Buchanan, my supervisor, for his invaluable guidance and support. I have been fortunate in receiving his endlessly creative and exceptionally full measure of engagement throughout this project. I wish to express my sincere appreciation and special thanks to Dr. Timothy R. Wutrich and Dr. Gene Kaufman for their belief in and support to this venture. I owe very special thanks and appreciation to Dr. Jessica Haigney, Dr. Norma Humphery, Dr. Rachel H. Smith, Dr. Robert L. Wortman, Dr. Wojtek Chojna, Dr. Dora Wilson and Dr. Vladimir Marchenkov for generously sharing their knowledge and experience. I also owe special thanks to Brenda Llewellyn, Administrative Associate, and Anne Braxton, Fine Arts Librarian, for their cooperation and good wishes all the time. I am also in great debt to my very sincere friend Dr. Chinhong Lim Chang, she helped me tremendously in proofreading my writings during the course work. I am also grateful for her moral support throughout. I express my deep gratitude to my mother and father without whose love, blessings and prayers this study would not have been completed. I wish to acknowledge their patience for bearing the pains of being far away; without their love and sacrifice this piece of work would not have been easier to achievable. Heartfelt gratitude to my sister Zahida and her husband Dr. M. R. Akhtar, my brother Liaquat Ali and his wife Rehana, my brothers and sisters-in-law M. Zafar Iqbal, M. Ashiq Haroon, M. Sajid Iqbal, M. Zahid Iqbal, Zahida Perveen and Kauser Yasmin for their love and blessings. Finally, I would like to acknowledge the important contribution of my husband Manzoor and son Arslan, whose unfailing patience, understanding and moral support helped me over the many obstacles associated with the graduate study. Above all, thanks God, the Almighty. 8 Table of Contents Dedication................................................................................................................5 Acknowledgment .....................................................................................................6 List of Contents........................................................................................................8 List of Figures..........................................................................................................9 Introduction ...........................................................................................................11 Chapters Chapter 1 Robert Wilson and his Art .....................................................................................16 An Overview of Space and Time26.............................................................26 Robert Wilson’s Art from a Historical Perspective ....................................43 A Brief Survey of Wilson’s Criticism ........................................................53 Chapter 2 Where do Wilson’s Art, Chaos Theory and Postmodernism Intersect? ................57 Chapter 3 A Letter for Queen Victoria: An Analysis of Space and Time .............................93 Chapter 4 Space and Time in the Context of Postmodernism..............................................126 Expansions, Connections and Explanations .............................................141 Conclusion .........................................................................................................152 Figures ................................................................................................................158 Bibliography ......................................................................................................205 Notes ...................................................................................................................221 9 List of Figures 1. KA MOUNTAIN AND GUARDenia TERRACE ..................................................158 2. Deafman Glance, (1971) act 1 ...........................................................................159 3. Deafman Glance 1971 .......................................................................................160 4. Deafman Glance 1971 .......................................................................................161 5. Memory/Loss, Venice 1993 ..............................................................................162 6. Memory/Loss, Venice 1993 ..............................................................................163 7. Queen Victoria Chairs, 1977 .............................................................................164 8. Stalin Chair 1977 ...............................................................................................165 9. Hanging Chair 1977 ..........................................................................................166 10. Memory of a Revolution, 1990..........................................................................167 11. Memory of a Revolution (Detail), 1990 ...........................................................168 12. Portrait, Still Life, Landscape, Rotterdam,1993 ..............................................169 13. Clink Street Vaults, London, 1995 ...................................................................170 14. Einstein on the Beach 1976, Act 1. Scene 1A. Train, The Metropolitan, Opera House, New York .............................................................................................171 15. Einstein on the Beach 1976, Act 1, Scene 2A, Trial ........................................172 16. Einstein on the Beach 1976, Act 3, Scene 3B, Field with Spaceship...............173 17. Einstein on the Beach 1976, Act 4, Scene 3C,Spaceship ................................174 18. A Letter for Queen Victoria, 1977 ...................................................................175 19. A Letter for Queen Victoria, Wilson, Performing. The Drop ...........................176 20. the CIVIL warS: a tree is best measured when it is down 1984 .......................177 10 21. the CIVIL warS: a tree is best measured when it is down 1984 .......................178 22. The King of Spain 1969, drawing ....................................................................179 23. the CIVIL warS, Act 1, Scene B (Dutch Section), Schouwburg, Rotterdam, 1983, detail.........................................................................................................180 24. the CIVIL warS, Act 1, Scene B (Dutch Section) ............................................181 25. The king of Spain, floor plan ...........................................................................182 26. Series of thirteen Drawings for the, Einstein on the Beach ...................... 183-195 27. The Lorenz Strange Attractor .........................................................................196 28. Mandelbrot Fractals, sets 1-7................................................................... 197-203 29. A Letter for Queen Victoria, the “Chitter, Chatter” scene ...............................204 11 Introduction
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