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Punct și de la capăt. 40 de ani de explorări în teatru, film, operă
Născut pe 21 martie 1925 la Londra, PETER BROOK este unul dintre cei mai importanți regizori de teatru din a doua jumătate a secolului XX. Creator inovator, a contribuit semnificativ la cercetarea formelor teatrale, punând în scenă numeroase spectacole-unicat. A realizat multe montări de referință după piesele lui William Shakespeare, producția Visul unei nopți de vară din 1970 fiind considerată de specialişti mai bună chiar decât piesa în sine. Deși în culmea gloriei, având o carieră impresionantă în Marea Britanie, aflat sub influența ideilor lui Antonin Artaud, Jerzy Grotowski sau Vsevolod Meyerhold, a ales să plece la Paris, din dorința de a păși pe teritorii noi în teatru. În 1970, împreună cu Micheline Rozan, a înființat acolo Centrul Internațional de Cercetări Teatrale. Alături de artişti de diverse nationalități, a dorit să descopere abordări şi forme inovatoare, realizând numeroase experimente artistice în Orientul Mijlociu sau în Africa. La teatrul parizian Bouffes du Nord, devenit sediul explorărilor sale, a creat până în 2008. Printre spectacolele sale de referință se numără Hamlet (1955), Marat/ Sade (1964), Orghast la Persepolis (1971-1972), Conferința păsărilor (1979), Furtuna (1990), Tierno Bokar (2004), Marele Inchizitor (2004). A regizat şi filme, cea mai cunoscută şi cea mai importantă creație fiind Mahabharata, ecranizare a poemului epic indian, concepută după două spectacole inspirate de acelaşi poem.
Explorator al creativității fiinte umane, ale cărei mecanisme şi forme le-a cercetat neîncetat în experimente care l-au condus la o filozofie profund personală a teatrului și a actoriei, Peter Brook a debutat în volum cu Spațiul gol, care avea să fie considerat de specialişti unu dintre cele mai importante eseuri despre teatru din epoca postbelică. Conceptul propus în această carte a reconfigurat viziunea despre arta spectacolului și influențat hotărâtor numeroşi creatori de teatru. După Spațiul gol (1968), au urmat alte volume. Fără secrete. Gânduri despre actorie şi teatru a apărut în anu 1993 şi cuprinde texte rezultate din trei conferinte pe care regizorul le-a sustinut la Paris şi la Kyoto în 1991.
Explorator al creativității fiinte umane, ale cărei mecanisme şi forme le-a cercetat neîncetat în experimente care l-au condus la o filozofie profund personală a teatrului și a actoriei, Peter Brook a debutat în volum cu Spațiul gol, care avea să fie considerat de specialişti unu dintre cele mai importante eseuri despre teatru din epoca postbelică. Conceptul propus în această carte a reconfigurat viziunea despre arta spectacolului și influențat hotărâtor numeroşi creatori de teatru. După Spațiul gol (1968), au urmat alte volume. Fără secrete. Gânduri despre actorie şi teatru a apărut în anu 1993 şi cuprinde texte rezultate din trei conferinte pe care regizorul le-a sustinut la Paris şi la Kyoto în 1991.
336 pages, Paperback
First published October 1, 1987
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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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Displaying 1 - 9 of 9 reviews
September 27, 2025
Peter Brook è veramente illuminante
May 1, 2023
„Nicio piesă de Shakespeare nu e o poveste realistă. Piesele lui nu sunt felii de viață, nici poezii, nici compuneri frumoase. Ele sunt niște născociri complexe, unice, alcătuite dintr-o gamă amețitor de variată de elemente opuse, abil împletite în țesătură. Ele creează impresia de bogăție impresionantă, și asta vine din faptul că e implicat un număr așa de mare de elemente.“
March 21, 2007
This is another essential book by one of the most stimulating theatrical minds of all time.
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May 6, 2020⁸
February 26, 2023
"With this word..."
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April 12, 2008great insight on theatre - esp Shakespeare
February 8, 2011
A wonderful book with an unusual look at theatre, it's literary construction and it's meaning. Another must read for the theatrically inclined
August 20, 2012
I was reading it in estonian language
Title is: Nihkuv vaatepunkt
Title is: Nihkuv vaatepunkt
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September 9, 2012More brilliance from the bravest, most honest man working in theatre ...
Displaying 1 - 9 of 9 reviews