In the form of a video-essay, the authors intend to explore a unique case of an edifice and a building site (co-) designed by a great artist of theater as a laboratory for his aesthetics. Unawares, The United States of America simultaneously received her first Bayreuth (Wagner), Bauhaus (Gropius), and Hellerau (Palluca): a utopian site for synthesis of the arts. Andrzej Wirth followed from the beginning the prolific theater of Robert Wilson and also witnessed all phases of the Watermill’s construction. We see here a rare instance of mutual immersion of architecture as a nontemporal art and theater as a most ephemeral, temporal art: architecture quoting theater, or rather the memory of theater inscribed in architecture. Is it possible to demonstrate such a thesis convincingly? That’s the question. We collaborated with each other before. We analyzed the sceneries and walk-in-installations of Venice and Las Vegas and developed the “vactor” model: the virtual actor. It’s always a work in progress for us. What will be our points of view at Watermill? What will be our camera’s cuts and moves? What words will we say, and how? Experiencing the architectural set-up of Watermill we will frame our work in space and time, with the windows to be found and the ones remembered from the past.
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