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Spatiul gol
O carte fundamentala despre teatru, semnata de unul dintre cei mai influenti regizori ai secolului al XX-lea Conceptul propus de Peter Brook in Spatiul gol a schimbat complet viziunea despre artele spectacolului si a influentat hotarator numerosi creatori de teatru. Pasionant, neconventional si fascinant, acest volum arata cum teatrul sfideaza regulile, construieste si spulbera iluzii si ofera amintiri nepretuite publicului sau. Prin crearea unui spatiu gol, actorul poate, impreuna cu publicul, sa gaseasca rezonanta si legitimitatea cuvintelor. Peter Brook se refera la necesitatea vidului, la absenta dezordinii din spatiu, precum si la cea din spirite, pentru a ajunge la aceasta transformare a banalului, care da nastere actului teatral. Cu o claritate seducatoare, Brook exploreaza problemele cu care se confrunta un spectacol de teatru, analizeaza evolutia ideilor teatrale puse in circulatie de cei mai controversati creatori ai secolului al XX-lea, cum ar fi Stanislavski sau Brecht, si vorbeste despre cele patru tipuri de teatru – teatrul fara viata, teatrul sacru, teatrul brut si teatrul imediat. Fara indoiala, Spatiul gol a ramas si va ramane o piatra de hotar in gandirea teatrala de astazi. Ferm inradacinata in propria experienta a lui Brook, aceasta carte iconoclasta continua sa inspire si sa indrume noile generatii de creatori de pretutindeni. Sunt convins ca, dupa experienta Spatiului gol, nu mai e posibil sa mergem la teatru fara sa ne intrebam de ce o facem. […] Daca Stanislavski si-a dedicat viata descoperirii misterului teatrului in actor, iar Grotowski a calatorit din India pana in Haiti ca sa descopere in actor o fiinta mistica, Brook a incercat sa descopere in ce fel teatrul ne poate ajuta pe toti, atat pe cei de pe scena, cat si pe cei din sala, sa devenim oameni adevarati, actori in viata. - Andrei Serban
192 pages, Paperback
Published January 1, 2023
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About the author
Peter Brook
102 books130 followersPeter Brook is a world-renowned theater director, staging innovative productions of the works of famous playwrights. A native of London, he has been based in France since the 1970s.
Peter Brook's parents were immigrant scientists from Russia. A precocious child with a distaste for formal education but a love of learning, Brook performed his own four-hour version of Shakespeare's Hamlet at the age of seven. After spending two years in Switzerland recovering from a glandular infection, Brook became one of the youngest undergraduates at Oxford University. At the same time he directed his first play in London, a production of Marlowe's Dr. Faustus. Brook made his directing debut at the Stratford Theatre at the age of 21, with a production of Love's Labours Lost.
Over the next several years, Brook directed both theater and opera, as well as designing the sets and costumes for his productions. He eventually grew disillusioned with opera, calling it "deadly theater." He directed prominent actors, including Laurence Olivier in Titus Andronicus and Paul Schofeld in a filmed King Lear. He also directed a film adaptation of Lord of the Flies. In 1962, he was named a director of the Royal Shakespeare Company.
Despite his popular successes, Brook sought out alternative ways to create vibrant, meaningful theater. He directed a season of experimental theater with the Royal Shakespeare Company, inspired by Antonin Artaud's "Theatre of Cruelty." He sought to turn away from stars and to create an ensemble of actors who improvised during a long rehearsal period in a search of the meaning of "holy theater."
Out of this search came Brook's finest work. In 1964 he directed Genet's The Screens and Peter Weiss' Marat/Sade, for which he received seven major awards and introduced Glenda Jackson to the theater. Influenced by Brecht and Artaud, Marat/Sade shocked the audience with its insane asylum environment. In 1966 he developed US, a play about the Vietnam experience and the horrors of war. Jerzy Grotowski, one of the most important theater directors of this century and a man who profoundly influenced Brook, came to work with the company during this production. Brook also did an adaptation of Seneca's Oedipus by poet Ted Hughes, a who continued to collaborate with him for many years. The culmination of this phase of Brook's work was his production of A Midsummer Night's Dream (1970). Using trapezes, juggling, and circus effects, Brook and his actors created a sense of magic, joy, and celebration in this interpretation of Shakespeare's play.
After this, Brook moved to Paris and founded the International Center of Theatre Research. He wanted to find a new form of theater that could speak to people worldwide--theater which was truly universal. He also wanted to work in an environment of unlimited rehearsal time in order to allow for a deep search-of-self for all involved. The first production that came out of this phase was Orghast (1971), which employed a new language developed by Ted Hughes. This production, performed at the ruins of Persepolis in Persia, used actors from many different countries.
Peter Brook's parents were immigrant scientists from Russia. A precocious child with a distaste for formal education but a love of learning, Brook performed his own four-hour version of Shakespeare's Hamlet at the age of seven. After spending two years in Switzerland recovering from a glandular infection, Brook became one of the youngest undergraduates at Oxford University. At the same time he directed his first play in London, a production of Marlowe's Dr. Faustus. Brook made his directing debut at the Stratford Theatre at the age of 21, with a production of Love's Labours Lost.
Over the next several years, Brook directed both theater and opera, as well as designing the sets and costumes for his productions. He eventually grew disillusioned with opera, calling it "deadly theater." He directed prominent actors, including Laurence Olivier in Titus Andronicus and Paul Schofeld in a filmed King Lear. He also directed a film adaptation of Lord of the Flies. In 1962, he was named a director of the Royal Shakespeare Company.
Despite his popular successes, Brook sought out alternative ways to create vibrant, meaningful theater. He directed a season of experimental theater with the Royal Shakespeare Company, inspired by Antonin Artaud's "Theatre of Cruelty." He sought to turn away from stars and to create an ensemble of actors who improvised during a long rehearsal period in a search of the meaning of "holy theater."
Out of this search came Brook's finest work. In 1964 he directed Genet's The Screens and Peter Weiss' Marat/Sade, for which he received seven major awards and introduced Glenda Jackson to the theater. Influenced by Brecht and Artaud, Marat/Sade shocked the audience with its insane asylum environment. In 1966 he developed US, a play about the Vietnam experience and the horrors of war. Jerzy Grotowski, one of the most important theater directors of this century and a man who profoundly influenced Brook, came to work with the company during this production. Brook also did an adaptation of Seneca's Oedipus by poet Ted Hughes, a who continued to collaborate with him for many years. The culmination of this phase of Brook's work was his production of A Midsummer Night's Dream (1970). Using trapezes, juggling, and circus effects, Brook and his actors created a sense of magic, joy, and celebration in this interpretation of Shakespeare's play.
After this, Brook moved to Paris and founded the International Center of Theatre Research. He wanted to find a new form of theater that could speak to people worldwide--theater which was truly universal. He also wanted to work in an environment of unlimited rehearsal time in order to allow for a deep search-of-self for all involved. The first production that came out of this phase was Orghast (1971), which employed a new language developed by Ted Hughes. This production, performed at the ruins of Persepolis in Persia, used actors from many different countries.
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