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The Prisoner
Somewhere in the world, a man sits alone outside a prison. Who is he, and why is he there? Is it a choice, or a punishment? With The Prisoner , the internationally renowned theatre director Peter Brook and his long-time collaborator Marie-Hélène Estienne ask provocative and profound questions about justice, guilt, redemption – and what it means to be free. The Prisoner opened at Théâtre des Bouffes du Nord, Paris, in March 2018, before an international tour which included performances at the Edinburgh International Festival, the National Theatre of Great Britain, and Theatre for a New Audience in New York. 'The most pioneering theatre director of the twentieth century' Independent on Peter Brook 'Only its mystery equals the simplicity of this strange fable' - Le Monde 'The force of the show lies precisely in its ellipses, the empty spaces it offers to our emotions, sensations and to our intelligence' - Télérama 'During one hour and fifteen minutes, the Earth stops spinning at its maddening speed, to allow Brook to whisper in our ear one of his beautiful universal stories' - Les Echoes 'The work of an artist for whom the human heart has no secrets and who knows the revealing and consoling force of theatre' - Le Figaroscope
34 pages, Kindle Edition
Published August 23, 2018
9 people want to read
About the author
Peter Brook
103 books134 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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March 14, 2021
To be seen under the mastery of Peter Brook. Reason enough to own the script.
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