It was an extraordinary premise. But in that intoxicating era when altered states of consciousness were at the cutting edge of all the arts, just about anything was possible. Similarly, theater as magic and theater as rite were things whose time had come.
The paradox was, however, that this real-life human drama at the center of the stage drama was in strong contrast to the austerity and aesthetic purity of Wilson's general style.
As far as anyone knows, Raymond never regained his lost capacities. Wilson's style, however, has flourished, and voyaged on little-changed.
Magical transformations have a very long history in the theater, stretching back to its origins in temple dance-dramas, both in Asia and in Europe. In re-instituting the possibility of an actual transformation, Wilson was merely, albeit sensationally, taking theater back in the direction of its roots.
Taipei's Experimental Theater was deliberately designed to avoid the imposition of a proscenium arch on productions. Paradoxically, therefore, Riverbed has had to create one -- a box 10m wide, 5m deep and 5m high, with, if not actually a rising curtain, then at least the suggestion of a drawn-back one. Out of a cast of 18, six will embody Robert Wilson, in his trademark jeans and turtle-neck sweater, plus masks characterizing the man.
The music is the creation of the director's mother, Cheryl Quintero, featuring, among other things, the choir of her local church in Montana, a piano and a barber-shop quartet.
For a decade after Deafman, Wilson worked with composer Philip Glass, but subsequently, in shows such as The Civil Wars, he habitually used spirituals and other traditional African-American religious music. This aspect of Wilson's work will strongly influence the music this week, Quintero says.
And because Deafman Glance is now 34 years old, the characters' costumes will have the appearance of things taken out of a dusty cupboard, but brought back to life by the mysterious transforming power of theater.
Quintero is used to creating well-informed shows about some of his more spectacular theatrical predecessors. Last year Riverbed offered a show, The Futurist Cookbook, based on the concepts and practices of Filippo Tommaso Marinetti, the eccentric founder of futurism, in which audiences were invited to consume items created according to a cookbook that doesn't appear in many Taipei kitchens.
Life and Times of Robert Wilson will not attempt to ape Wilson's work. Instead, it will utilize elements of his manner, using pastiche and collage, to critique his creations. It will be a dialogue with Wilson, Quintero says. The hour-long performances promise to be extremely fascinating.
Riverbed Theatre's Life and Times of Robert Wilson plays at the Experimental Theater, Taipei from Thursday to Sunday at 7:30pm, with matinees on Saturday and Sunday at 2:30pm. Call (02) 3393 9888 for more information.
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