An artist has to look at the future, to see what we can do better.

If you see a Renaissance body, this is completely ugly in this time. Everybody has to be skinny. But the Renaissance body with incredible flow of the meat everywhere, it was beauty.

I am pure performance, and Robert Wilson is pure theater.

Talking about [Donald] Trump, there's nothing wrong with Trump. He's who he is. It's wrong with us, who let him [win]. That's what's wrong. It's not that he's going to change, but the people who think like him.

I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.

There are two kinds of loss of hope, one is the feeling when your pulse slows down and you are going to die, and there's nothing else left. The other loss of hope is when you're living in a country which becomes insecure, and you don't know what the future is. That's existential.

From the very early stage when I started doing performance art in the '70s, the general attitude - not just me, but also my colleagues - was that there should not be any documentation, that the performance itself is artwork and there should be no documentation.