Although the installation-like works of his creative years, long since past, employ live performers and move through time, Wilson has never really had any interest in the theater. He actively seems to disapprove of the theatrical impulse and even to resent its continued existence. Least of all, engaged as he has been in a world of wealthy backers, museums, and foundations, has he ever had any interest in theater with the kind of social-activist impulses that partially fueled the creation of Threepenny. Premiered before Brecht became a communist, the work is not actively political as many of his later works are, though he tried to make it so in subsequent rewritings. It was meant as provocative entertainment for middle-class theatergoers—part satire, part shock effects, part aesthetic innovation, part moral indictment, and part sheer theatrical diversion. Audiences worldwide have relished the unexpected, heady mixture ever since.RTWT.
Wilson carefully removed all these aspects of the piece, turning Brecht and Weill's middle-class wake-up call into dead entertainment for rich people.
Oct 12, 2011
Michael Feingold, on Robert Wilson's Threepenny, covered previously here:
Posted by Rob Weinert-Kendt at 7:32 AM