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رازی در میان نیست: اندیشههایی در مورد بازیگری و تئاتر
اين كتاب مجموعه نوشتارهای پیتر بروک، کارگردان شهیر تئاتر انگلیسی، درباره هنر بازيگری و تئاتر است كه طی آن تجارب و ديدگاه خود را در باره «نمايش» با مخاطبان در میان میگذارد.
این کتاب سه فصل دارد که به ترتیب عبارتند از «فریبکاری ملال»، «ماهی زرین» و «رازی در میان نیست». به عنوان مثال بخشی از دیدگاههای بروک درباره ماهیت تئاتر به این صورت است: «... برای این به تئاتر میرویم که زندگی را تماشا کنیم، ولی اگر زندگی بیرون از تئاتر با زندگی درون تئاتر تفاوتی نداشته باشد تئاتر اصلا بیمعناست و اجرای آن بیهوده است. ولی اگر بپذیریم که زندگی درون تئاتر آشکارتر و پرشورتر از زندگی بیرون است، آنگاه میتوان دید که این زندگی همان زندگی بیرون است و هم چیزی دیگر... زندگی درون تئاتر ملموستر و فشردهتر است زیرا غلیظتر است.»
این کتاب سه فصل دارد که به ترتیب عبارتند از «فریبکاری ملال»، «ماهی زرین» و «رازی در میان نیست». به عنوان مثال بخشی از دیدگاههای بروک درباره ماهیت تئاتر به این صورت است: «... برای این به تئاتر میرویم که زندگی را تماشا کنیم، ولی اگر زندگی بیرون از تئاتر با زندگی درون تئاتر تفاوتی نداشته باشد تئاتر اصلا بیمعناست و اجرای آن بیهوده است. ولی اگر بپذیریم که زندگی درون تئاتر آشکارتر و پرشورتر از زندگی بیرون است، آنگاه میتوان دید که این زندگی همان زندگی بیرون است و هم چیزی دیگر... زندگی درون تئاتر ملموستر و فشردهتر است زیرا غلیظتر است.»
- GenresTheatre
109 pages, Paperback
First published March 13, 1995
9 people are currently reading
170 people want to read
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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Displaying 1 - 9 of 9 reviews
September 13, 2024
کتاب خوبی بود، همون طور که از اسمش پیداست، اندیشه هایی در مورد بازیگری و تئاتر بیان میکنه که به درد میخوره.
بیشتر از بخش توضیحاتش درباری بازیگری بهره بردم.
کتاب به چیزهایی که خود فرد درباره تئاتر میدونه نظم میده و با توجه به حجم کمش خوب تونسته بود هدفش رو برسونه.
ارزش خوندن داره به ویژه فصل نخست.
بیشتر از بخش توضیحاتش درباری بازیگری بهره بردم.
کتاب به چیزهایی که خود فرد درباره تئاتر میدونه نظم میده و با توجه به حجم کمش خوب تونسته بود هدفش رو برسونه.
ارزش خوندن داره به ویژه فصل نخست.
January 6, 2019
Peter Brook scrie și despre vocabularul lui Shakespeare (25.000 de cuvinte), și despre toate formele de limbaj din teatru, și despre cultura practică, dar goală de conținut, și despre spectatorul avizat, și despre cel înșelat de falsa cultură superioară, dar și despre relația teatrului cu sponsorii.
Prima carte terminată în 2019 are darul de a uni două pasiuni (teatrul și CSRul) și de a face o trecere naturală, deloc forțată, de la atmosfera de vacanță la cea de lucru.
#primacartedin2019 #Nemira #FărăSecrete #PeterBrook
Prima carte terminată în 2019 are darul de a uni două pasiuni (teatrul și CSRul) și de a face o trecere naturală, deloc forțată, de la atmosfera de vacanță la cea de lucru.
#primacartedin2019 #Nemira #FărăSecrete #PeterBrook
June 22, 2025
This is a book that reads older than itself. I picked it up because it was the most least used in my schools library and it was exciting to read as someone that never watches theatre. It was in three parts and I felt that the beginning part was both vv interesting and inspiring
August 2, 2023
لذتبخش بود و انگیزه میداد
June 22, 2014
Um ein Thema zum Leben zu erwecken, ist es notwendig ständig nach den geeigneten Mitteln zu forschen. Sobald man das begriffen hat, zerplatzen alle Fragen von Stil und Konventionen, denn sie sind Beschränkungen, und man steht vor einem großen Reichtum, weil alles möglich ist. Brook tastet sich auf denkbar launige und kurzweilige Art durch die Themen des Theaterarbeiters. Er arbeitet sich durch die Angst und offenbart seine Haltung zu Wahrhaftigkeit und Natürlichkeit auf der Bühne. Schimären, will man meinen und ja, Brook gesteht alle Täuschungen und Illusionen ein, doch versteht er das Spiel immer als Widerhall des Lebens. Für ihn ist die Bühne ein Resonanzkörper des echten Lebens und schafft damit eine ganz besondere Verbindung zwischen Schauspieler und Zuschauer. In dieser Verbindung spätestens findet sich die Wahrhaftigkeit, die der Fiktion fehlt. Wie auch schon Brooks „Der leere Raum“ profitieren seine Texte vor allem durch hohe Anschaulichkeit. Brook ist ein Praktiker. Das merkt man und das ist genau das, was er zu vermitteln sucht. Theater ist Handwerk und Überzeugungskraft. Ein kurzer Text, der großen Spaß macht. Empfehlung!
April 24, 2013
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July 19, 2014
"Theatre has no categories, it is about life. This is the only starting point, and there is nothing else truly fundamental. Theatre is life."
February 5, 2016
Divided into three sections, the last two were my favourite.
April 28, 2017
"We invented, we tried, we explored, we discussed."
Displaying 1 - 9 of 9 reviews