Talk About a Brechtian Bark
Michael Feingold, on Robert Wilson's Threepenny: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 foundatio…