Somewhere between revisiting his first encounter with theatre (“it was so boring, with these people acting”), delivering a perfect imitation of Tom Waits’ blistered croon, and recalling how he and Samuel Beckett bonded over a shared love of Buster Keaton and Charlie Chaplin, Robert Wilson begins sketching on a piece of paper.
In a few strokes, he renders the set of Beckett’s Happy Days and its famously trapped female protagonist. “The best Beckett works are those that are treated very artificially, like Keaton or Chaplin,” says the veteran US theatre director and artist.
