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Student Director 2013
Brooks early life
Peter Brook has had a very full and successful life. Being born to 2 Jewish i igrants was difficult. !nd was "uoted in an interview #$ don%t re e ber uch. But of what $ do re e ber& it wasn%t easy.' (hen he was ) or * Brook was re+orted +erfor ing a Pu++et show of ,a let. ,e went to (est inster School when he was younger& and then oved to -resha %s school& and finally receiving his high education at .agdalen /ollege in 01ford. Books 2he 3 +ty S+ace 2he 0+en Door 2he Shifting Point 2hreads of 2i e 3voking and 4orgetting Shakes+eare Between 2wo Silences Esteemed Productions 1566 7 ,a let 1589 7 .arat:Sade 15)* 7 .esure +our esure by 15*1 7 ;a 2rag<die de /ar en & ;incoln /enter& =ew >ork 15** 7 2he /herry 0rchard by !nton /hekhov 1550 7 ;a 2e +?te by (illia Shakes+eare& 155* 7 Don -iovanni by .o@art& 2000 7 ,a let by (illia Shakes+eare& 2002 7 4ar !way by /aryl /hurchill 200* 7 4rag ents after Sa uel Beckett 2005 7 ;ove is y sin sonnets by (illia Shakes+eare 2010 7 (aru waru by Peter Brook et .arieA,<lBne 3stienne after !ntonin !rtaud& 3dward -ordon /raig& /harles Dullin& Csevolod .eyerhold& .otokiyo Dea i and (illia Shakes+eare
arat:Sade set in an insane asylu . . 2o hi Eo eo and Juliet was a way to #get back to the violence& the +assion& and the e1cite ent of the stinking crowds& the feuds& the intrigues.unter& Gwho saw that +roductionH found the sa e the es and thoughts to bring it to /ornell to direct. . Brook had a fascination with /lassical theatre and used highly +hysical and acrobatic techni"ues to dig dee+ into what the te1t was really for. #goal was to reinvigorate the theater through a theatrical vocabulary not tied to language'G!ronson& 1H. 0ur very own .ark . =ot to evoke Sadis & but to ake theatre ore rigorous.e fa ously directed a +roduction of .is first +roduction was Fing . 80& 2he Shifting PointH Brook& "uestions all for s that have been +laced u+on hi in this ti e& and they e1+lore the need to have for at all with /ruelty.Classical Theatre Peter Brook beca e a resident Director at the Eoyal Shakes+eare /o +any in 1582& 3 years after the origination of the co +any started. (Belo )! Brook s !ersion of "ing Lear in #9$# in film% which was based on his #9&' production( (Belo ) Brook "ses hi#hly $hysical tech%ical ele&e%ts o% sta#e to e&$hasi'e orld a%d relatio%shi$( . 2his was thought to be the first +roduction of /ruelty that Peter Brook had directed that was +erfor ed +ublicly.' G+g.ear with Paul Scofield. 2his +ers+ective (Above) A picture from Peter Brooks Production of Le Mahabharata The full production was 9 hours long and toured for 4 years! of 2heatre of /ruelty is found in #2he Shifting Point' s+ecifically e1+loring the reasons on creating a theatre that e1+lores the following state ent #(e need to +ut their reactions to the test& Iust as uch as own actions. >ou can read his cha+ter in 2he 3 +ty S+ace on Deadly& and read about an earlier inter+retation of cruelty. Theatre of Cruelty Starting the 2heatre of /ruelty in 1586 behind locked doors& Brook used this title as a nod to !rtaud.
Brook visited South !frica while doing research for a +roduction and et with a Director. Brook is believed to be the one of the first Directors to be labeled as an artist . Theatre Across the World $n Brooks book #2he 0+en Door' .e created a sense of freedo within theatre that was never there before hi .e never wants to be alone in his art.e o+ens with telling a story about how he had found his work to influence the world around hi .' $t was then that Brooks reali@ed that his work had beco e into the #Po+ular' $t was so early in the directing world that +eo+le had no belief in theatre as an #!rt'& and the director as an !rtist. !nd Brooks thought #as ost of the book was written before our e1+eriences in !frican and stant references to theatres of . .(Above)! A picture of the )oyal *hakespeare +ompany *tage( This is still in e.ondon& of Paris& =ew >orkJ(hat could they have found of use in it%s te1t.istence today( *ome say that it is due to the risks that Brook took when directing on the stage( )%fl"e%ce o% theatre Brook%s influence on theatre was astrono ical. . 2hat is why Book wrote so any books. . 2he director told hi how his writings had touched hi dee+ly. !s one of the first +rolific directors to be abstract and successful he felt as if it was his duty to take on the theatrical world and teach the world of his +ers+ective of theatre by sharing his books.e wants to continue his art +ast his life. 2he an re+lied by showing Brook his own "uote7 #$ can take any e +ty s+ace and call it a bare stage. ! an walks across this e +ty s+ace whilst so eone else is watching hi & and this si all $ need for an act of theatre to be engaged.
In life this is myth. To plays needs much wor$. everything is an e#change of influences. In everyday life. it is for me an e#ercise. even of ! minutes ago. )ut when we e#periences the wor$ as play. can also become our ally if we see how a pale moment can lead to a glowing moment. It sounds li$e hard wor$. . one is influenced by everyone one meets.” “% stage space has two rules* + . the theatre has one special characteristic. we ourselves can never go bac$ on anything.” “I am ready to disclaim my opinion. cloc$s never go bac$. because if there is no distance you aren't amazed. all opinions are derivative. In everyday life.*"otes! “Time. now frozen on the page. "ne lives in a field of influences. 'if' is a fiction.” “Reality' is a word with many meanings. but unli$e a boo$. %s you read this boo$. (hen we are persuaded to believe in this truth then the theatre and life are one. in the theatre 'if' is an e#periment. then it is not wor$ anymore.” *"otes! (Co%ti%"ed) “Truth in theatre is always on the move.omething must happen.ream at the )oyal *hakespeare +ompany in #9$/( *cenic . "nce you deal a new dec$ of cards. It is always possible to start again.” /0eter )roo$ (belo )! This is a photograph of Brook s production of A Midsummer -ights .” “The closeness of reality and the distance of myth. because all opinions are relative. we can never have a second chance. &ew leaves never turn. %nything can happen and +-. In the theatre. 'if' is an evasion. even of yesterday. it is already moving out of date.esign by *ally 0acobs . which is so often an enemy in life. in the theatre 'if' is the truth. before dropping again to a moment of everyday simplicity. the slate is wiped clean all the time. you've got a new dec$ of cards. This is a high aim. % play is play. and if there is no closeness you aren't moved. and then turn to a moment of perfect transparency.
org:nicolescu3.student+ulse. Print.K 3ncyclo+Ldia Britannica.ht htt+7::observer.co :articles:101:theAdevelo+ entAofAtheatreA+eterAbrookAandA theAhu anAconnection htt+7::roadsofstone. Print. 2013. =ew >ork7 Parthenon& 1553.co :2001:06:whosAthereA+eterAbrooksAha letAleadsAtheAway: htt+7::www. 3ncyclo+Ldia Britannica $nc.co :3Bchecked:to+ic:*11)2:PeterABrookN. Mhtt+7::www. (eb.ar+er O Eow& 15*).Bibliography_____________________________________ KPeter Brook.& 2013. . 2he 0+en Door7 2houghts on !cting and 2heatre.ethuen Dra a& 155*. Brook& Peter. 2hreads of 2i e7 ! . Other Sources: (For More Information) htt+7::www.ondon7 . 62319 dde +sey19Pcornellcollege. Brook& Peter. 2he 3 +ty S+ace.gurdIieff. Brook& Peter. Print.edu G603H 965A)120 .ount Cernon& $!. 2he Shifting Point7 1598A15*). 3ncyclo+Ldia Britannica 0nline !cade ic 3dition. 10 0ct. Print.britannica. Brook& Peter.co :200*:03:06:1))Afro AwhiteAbo1AtoAe +tyAshellArebuildingAtheA royalAshakes+eareAtheatreAstratfordAu+onAavon: Contact Information: Daniel De +sey *10 /o ons Ed Q1201 . =ew >ork7 . =ew >ork7 !theneu & 158*.e oir.