Bridges 2010: Mathematics, Music, Art, Architecture, Culture
The Qualitative and Quantitative World of Robert Wilson's Theater
Julie Rogers Varland
Department of Architecture
Savannah College of Art and Design
229 MLK, Jr., Blvd.
Savannah, GA, 31402, USA
E-mail: jrogersv@[Link]
Abstract
Robert Wilsons theater creations and choreography are an interesting intersection of concepts of space, time and movement and
how they are measured both quantitatively and qualitatively. This paper presents Wilsons systems of space, time, and
movement relationships within the strictures of the proscenium stage that convey separations and linkages of each element. The
configurations and experiences of Wilsons plays create a unique model of mathematical and geometric space-time-movement
relationships.
.
I teach architecture. And for me, a fundamental part of this (wonderful) task is to teach both the
qualitative and quantitative aspects/layers of architecture . . . its spatial characteristics, the feel of the
space AND the heights/widths of its spaces and openings as fitting to the human scale and form, as well
as the language of architectural communication for construction. While the quantity of materials and
measurement of the scale of the architecture is absolutely a part of the mission, it is the qualitative
characteristics of the endeavor which make it worth the effort and resources, or not.
Architecture is comprised of quantitative and qualitative design thinking, yet these two endeavors have
two different languages; one exacting, absolute, and measurable; the other about sensibilities, psychoemotively-based, immeasurable. The language of architecture is the construct within and around which
space allows the actions and means of life . . . its movement in time and space.
Space, time and movement are essential aspects to the act of inhabitation. We learn the math of physics
in which quantities can be represented for each: distance, time, rate. The perception of this physics can
be yet another thing.
Our perceptual apparatus as human beings (homo sapiens) enables us to READ and UNDERSTAND /
PERCEIVE the physical world in qualitative ways, versus quantitative ways; though the qualitative world
is inexorably linked to the quantitative world, they are also quite separate conditions and even pursuits in
design, yet linked to the same end, outcome, and product.
Architectures central purpose is to create space for human beings . . . space for life functions and pursuits
(dwelling, work, and elevated pursuits such as pleasure, learning, creative invention and worship). How
that space is delineated with material structure can be enormously varied [see Bruno Zevis Architecture
as Space].
For me, Robert Wilsons theatrical works provide an apt and inspiring example of how space can be
considered with both qualitative and quantitative sensibilities. The relationship between these two
categories, however are used and experienced in ways that have the human being and its perceptive
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Varland
capabilities at its core. Wilson uses issues of space, movement and time as the basic building blocks of
his theater.
These theater experiences have a sense of de-laminating space from time and use movement as an
intersecting device -- a type of weaver to bring them together. Wilson constructs a choreography that acts
as a measured structure where actors count out their steps at prescribed rates, sometimes taking an hour to
cross the stage. Lighting cues are orchestrated in counts of 1 to 300, versus the usual 1 to 20.
In Wilsons creations, the two axes of vertical and horizontal are conceived, however, not as static, but as
dynamic . . . set in motion or qualified according to movement . . . one that plays out in front of our eyes
and that is completed, according to Wilson, by the viewer themselves, by providing space for the
audience to complete the action through reflection, as a type of meaning.
Yes, theater is a story, a representation . . . not the real thing. However, Robert Wilsons theater presents
situations that allow us to wonder about, ponder and question quantitative structures and theories.
Space can be measured in terms of mathematical lengths, areas, and volumes; and space can be measured
in terms of perceptual quality, phenomenon, and heuristic type of space (small, medium, large, nasty, OK,
or inspiring).
Wilsons theater has minimalist features, are mapped out on coordinates of the vertical and horizontal.
Space is represented as a horizontal line and suggests breadth, while time is a vertical line that creates
depth and goes from the heights of the sky to the centre of the earth [1].
The two vectors that weave the tissue of time and space advance in unison in the face of
the impossibility, not only of thinking, but even of feeling a time without space or a space
without time. For Wilson, both are linked in the structure: Time exists through space.
It is the space around the time that is the construction. And the time around the space.
Neither exists without the other (Linders, 1997). The visual libretto that was initiated
with the light becomes a score that makes it possible to visualize both movements, that of
time and that of space, in a single gesture. In this score the total duration of the spectacle,
as well as its chronometric divisions, would act if this were the measure or the best time
of a tonal score. Inside this structure strong times and weak times, dense spaces and
delicate spaces, can also make themselves felt [2].
Intervals of space can have silence, and is used as a solid form in Wilsons plays. Though they may be
measured on the one hand as having zero sound, the silences can be pregnant, full, even loud.
Therefore, the zero of silence has a qualitative quantity of something positive and to the right of zero. It
is measured with our body/mind in the context of the play.
As in theories of relativity, mathematical computations of space cannot be thought of as entirely
independent, but as part of a larger dynamic whole. Does math serve and represent perceived,
experienced reality? Or is there a necessary and even stubborn incongruence between the two?
Robert Wilsons plays and theater designs are a poignant reminder of the two states or worlds that we live
in, that of quantified explanation, and that of qualified wonder and that which defies explanation and
quantification.
References
[1] Vicent Ostria, Echanges: Pierre Soulages, Robert Wilson [interview with Robert Wilson], in
Cahiers du Cinema, no. 477 (March 1994).
[2] Miguel Morey, Carmen Pardo, Robert Wilson, p. 60. 2003.
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