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    Peter Brook Handout

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    Daniel Dempsey
    Peter Brook (b. 1925) is a renowned British theater director. He became resident director of the Royal Shakespeare Company in 1962 and pioneered experimental productions that emphasized physicality and abstract interpretations of texts. Brook founded the International Centre for Theatre Research in 1970 to further develop the "Theatre of Cruelty" concept of using intense physical and emotional experiences to engage audiences. Brook's productions, writings, and global work have had enormous influence in liberating theatrical conventions and establishing the director as artist. He is considered one of the most influential theater directors of the 20th century.

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    Peter Brook Handout

    Uploaded by

    Daniel Dempsey
    252 views5 pages
    Peter Brook (b. 1925) is a renowned British theater director. He became resident director of the Royal Shakespeare Company in 1962 and pioneered experimental productions that emphasized physicality and abstract interpretations of texts. Brook founded the International Centre for Theatre Research in 1970 to further develop the "Theatre of Cruelty" concept of using intense physical and emotional experiences to engage audiences. Brook's productions, writings, and global work have had enormous influence in liberating theatrical conventions and establishing the director as artist. He is considered one of the most influential theater directors of the 20th century.

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    Peter Brook (b. 1925) is a renowned British theater director. He became resident director of the Royal Shakespeare Company in 1962 and pioneered experimental productions that emphasized physicality and abstract interpretations of texts. Brook founded the International Centre for Theatre Research in 1970 to further develop the "Theatre of Cruelty" concept of using intense physical and emotional experiences to engage audiences. Brook's productions, writings, and global work have had enormous influence in liberating theatrical conventions and establishing the director as artist. He is considered one of the most influential theater directors of the 20th century.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOC, PDF, TXT or read online from Scribd
    Download as doc, pdf, or txt
    252 views5 pages

    Peter Brook Handout

    Uploaded by

    Daniel Dempsey
    Peter Brook (b. 1925) is a renowned British theater director. He became resident director of the Royal Shakespeare Company in 1962 and pioneered experimental productions that emphasized physicality and abstract interpretations of texts. Brook founded the International Centre for Theatre Research in 1970 to further develop the "Theatre of Cruelty" concept of using intense physical and emotional experiences to engage audiences. Brook's productions, writings, and global work have had enormous influence in liberating theatrical conventions and establishing the director as artist. He is considered one of the most influential theater directors of the 20th century.

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    Peter Brook was a pioneering theatre director who experimented with abstract and physical forms of storytelling. He was influenced by his Jewish upbringing and studied at Westminster School and Magdalen College before directing for the Royal Shakespeare Company. Brook founded the Theatre of Cruelty to liberate performance from linguistic constraints and stimulate audiences through heightened physicality and sensation.

    Brook was born to Jewish immigrants in England and had an interest in puppetry and performance from a young age. He studied at several prestigious schools and colleges before becoming a director at the Royal Shakespeare Company in 1962. There he staged productions that emphasized the physical and emotional elements of texts over linguistic interpretations.

    Brook's Theatre of Cruelty in the 1960s sought to break conventions and 'reinvigorate the theater' by removing linguistic and presentational barriers. It focused on using the body and heightened sensations to involve audiences on a deeper level than traditional works.

    Peter Brook (March 21st 1925, 88 yrs old) Title

    Daniel Dempsey
    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

    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. ,is first +roduction was Fing ;ear with Paul Scofield. 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. 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. ,e fa ously directed a +roduction of .arat:Sade set in an insane asylu . 0ur very own .ark ,unter& Gwho saw that +roductionH found the sa e the es and thoughts to bring it to /ornell to direct. 2his was thought to be the first +roduction of /ruelty that Peter Brook had directed that was +erfor ed +ublicly. Theatre of Cruelty Starting the 2heatre of /ruelty in 1586 behind locked doors& Brook used this title as a nod to !rtaud. =ot to evoke Sadis & but to ake theatre ore rigorous. >ou can read his cha+ter in 2he 3 +ty S+ace on Deadly& and read about an earlier inter+retation of cruelty. 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.' G+g. 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. #goal was to reinvigorate the theater through a theatrical vocabulary not tied to language'G!ronson& 1H.

    (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$(

    (Above)! A picture of the )oyal *hakespeare +ompany *tage( This is still in e,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. ,e created a sense of freedo within theatre that was never there before hi . !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. 2hat is why Book wrote so any books. ,e never wants to be alone in his art. ,e wants to continue his art +ast his life. Theatre Across the World $n Brooks book #2he 0+en Door' ,e o+ens with telling a story about how he had found his work to influence the world around hi . Brook visited South !frica while doing research for a +roduction and et with a Director. 2he director told hi how his writings had touched hi dee+ly. !nd Brooks thought #as ost of the book was written before our e1+eriences in !frican and stant references to theatres of ;ondon& of Paris& =ew >orkJ(hat could they have found of use in it%s te1t. 2he an re+lied by showing Brook his own "uote7 #$ 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.' $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. Brook is believed to be the one of the first Directors to be labeled as an artist

    *"otes!
    Time, which is so often an enemy in life, can also become our ally if we see how a pale moment can lead to a glowing moment, and then turn to a moment of perfect transparency, before dropping again to a moment of everyday simplicity. Reality' is a word with many meanings. The closeness of reality and the distance of myth, because if there is no distance you aren't amazed, and if there is no closeness you aren't moved. I am ready to disclaim my opinion, even of yesterday, even of ! minutes ago, because all opinions are relative. "ne lives in a field of influences, one is influenced by everyone one meets, everything is an e#change of influences, all opinions are derivative. "nce you deal a new dec$ of cards, you've got a new dec$ of cards.

    *"otes! (Co%ti%"ed)
    Truth in theatre is always on the move. %s you read this boo$, it is already moving out of date. it is for me an e#ercise, now frozen on the page. but unli$e a boo$, the theatre has one special characteristic. It is always possible to start again. In life this is myth, we ourselves can never go bac$ on anything. &ew leaves never turn, cloc$s never go bac$, we can never have a second chance. In the theatre, the slate is wiped clean all the time. In everyday life, 'if' is a fiction, in the theatre 'if' is an e#periment. In everyday life, 'if' is an evasion, in the theatre 'if' is the truth. (hen we are persuaded to believe in this truth then the theatre and life are one. This is a high aim. It sounds li$e hard wor$. To plays needs much wor$. )ut when we e#periences the wor$ as play, then it is not wor$ anymore. % play is play. % stage space has two rules* + , %nything can happen and +-, .omething must happen. /0eter )roo$

    (belo )! This is a photograph of Brook s production of A Midsummer -ights .ream at the )oyal *hakespeare +ompany in #9$/( *cenic .esign by *ally 0acobs

    Bibliography_____________________________________
    KPeter Brook.K 3ncyclo+Ldia Britannica. 3ncyclo+Ldia Britannica 0nline !cade ic 3dition. 3ncyclo+Ldia Britannica $nc.& 2013. (eb. 10 0ct. 2013. Mhtt+7::www.britannica.co :3Bchecked:to+ic:*11)2:PeterABrookN. Brook& Peter. 2he 3 +ty S+ace. =ew >ork7 !theneu & 158*. Print. Brook& Peter. 2he Shifting Point7 1598A15*). =ew >ork7 ,ar+er O Eow& 15*). Print. Brook& Peter. 2he 0+en Door7 2houghts on !cting and 2heatre. =ew >ork7 Parthenon& 1553. Print. Brook& Peter. 2hreads of 2i e7 ! .e oir. ;ondon7 .ethuen Dra a& 155*. Print.

    Other Sources: (For More Information)


    htt+7::www.gurdIieff.org:nicolescu3.ht htt+7::observer.co :2001:06:whosAthereA+eterAbrooksAha letAleadsAtheAway: htt+7::www.student+ulse.co :articles:101:theAdevelo+ entAofAtheatreA+eterAbrookAandA theAhu anAconnection htt+7::roadsofstone.co :200*:03:06:1))Afro AwhiteAbo1AtoAe +tyAshellArebuildingAtheA royalAshakes+eareAtheatreAstratfordAu+onAavon:

    Contact Information: Daniel De +sey *10 /o ons Ed Q1201 .ount Cernon& $!. 62319 dde +sey19Pcornellcollege.edu G603H 965A)120

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