ABSTRACT
Pushkin's Fairy Tales entered Russia’s powerful artistic territory with the same aplomb that Einstein on the Beach entered the French cultural terrain. The mosaic style is pronounced in Pushkin's Fairy Tales, regardless of each tale’s narrative sequences, and it is enhanced by the fragmentary nature of CocoRosie’s score. Pushkin's Fairy Tales out to be one of the most jigsaw-like constructions of Robert Wilson’s music theatre and, indeed, of his work as a whole. The fact that Wilson works across artistic borders within one production as well as across his productions as a whole largely explains why his attitude towards artistic genres is non-hierarchical. Wilson developed the production with the core group of his team made up of some 20 people, in keeping with his workshop approach. Pushkin's Fairy Tales, as the high point of this kind of ‘camp’, plays as great a part as Einstein on the Beach in the numerous innovations of Wilson’s body of work.
