[PDF] ↠ Free Read ↠ The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate : by Peter Brook ¹

  • Title: The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate
  • Author: Peter Brook
  • ISBN: 9780684829579
  • Page: 127
  • Format: Paperback

  • From director and cofounder of the Royal Shakespeare Company Peter Brook, The Empty Space is a timeless analysis of theatre from the most influential stage director of the twentieth century As relevant as when it was first published in 1968, groundbreaking director and cofounder of the Royal Shakespeare Company Peter Brook draws on a life in love with the stage to exploreFrom director and cofounder of the Royal Shakespeare Company Peter Brook, The Empty Space is a timeless analysis of theatre from the most influential stage director of the twentieth century As relevant as when it was first published in 1968, groundbreaking director and cofounder of the Royal Shakespeare Company Peter Brook draws on a life in love with the stage to explore the issues facing a theatrical performance of any scale He describes important developments in theatre from the last century, as well as smaller scale events, from productions by Stanislavsky to the rise of Method Acting, from Brecht s revolutionary alienation technique to the free form happenings of the 1960s, and from the different styles of such great Shakespearean actors as John Gielgud and Paul Scofield to a joyous impromptu performance in the burnt out shell of the Hamburg Opera just after the war.Passionate, unconventional, and fascinating, this book shows how theatre defies rules, builds and shatters illusions, and creates lasting memories for its audiences.
    Peter Brook
    Peter Brook born 1925 was a world renowned theater director, staging innovative productions of the works of famous playwrights.Peter Brook was born in London in 1925, the son of 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 wrote scripts for television commercials and introduced to London audiences his first professional stage production, Marlowe s Dr Faustus.Brook, called the golden boy, did his first production at Stratford Theatre, one of the world s most prestigious stages, at the young age of 21 It was Shakespeare s Loves Labours Lost He spent the next several years staging acclaimed productions of plays He worked at the Covent Garden directing opera, as well as designing the sets and costumes for his productions Always seeking innovations and styles which would make his productions speak to modern audiences, he ended this experience with opera by calling it deadlytheater He directed plays with prominent actors, including Laurence Olivier in Titus Andronicus and Paul Schofield in King Lear Brook also directed the film version of this production In 1961 Peter Brook directed one of his seven films, the chilling Peter Shaffer adaptation of Lord of the Flies.Despite his successes and the fact that he was named as one of the directors of the famous Royal Shakespeare Company in 1962, Brook continued to seek out alternative ways to create vibrant, meaningfultheater This search led him to direct a season of experimental theater with the Royal Shakespeare Company in which he was free from the commercial constraints of box office concerns The season was called Theatre of Cruelty, a name taken from the works of Antonin Artaud, one of this century s most influentialtheater men Brook s desire was 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 holytheater Out of this search would come the director s finest work In 1964 Brook 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 Bertolt 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 The production reflected a collective statement by all of the artists involved and was certainly a departure from traditional theater 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 Ted Hughes, a renowned English poet who continued to collaborate with the director for many years The culmination of this phase of Brook s work was hisproduction 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 It was a masterpiece of thetheater.After this highly successful production, Brook went 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 firstproduction that came out of this third phase was Orghast 1971 , which employed a new language based on sound developed by Ted Hughes This production, performed at the ruins of Persepolis in Persia, used actors from many differ


    This was suggested reading for my acting class and I was told it would probably be too deep for our standards but I actually really enjoyed it and got a lot from it. I must read for any fellow drama nerd.

    This book is excellent, but it's hampered by two things. One is Peter Brook's fault and one isn't:1. It's a book about the current state of theater, written in 1968. As I was born in 1984, the author has literally no knowledge of any performance I have ever seen in my life, nor have I seen any of the performances he describes. So it's hard to relate his opinions about the state of theater to today, not knowing if I agree with his assessment of 1968.2. The book is inscrutable and high-minded to a [...]

    Nandakishore Varma
    I am abandoning this. Nothing to do with the book or Brook's erudition, though - I am stuck in a reading slump and this is not the ideal book for revival.Not rating It, either.

    Jamie Grefe
    Having seen Brook's televised "The Tragedy of Hamlet," and his filmed version of "King Lear," not to mention, the idea of his most recent "Love is My Sin," I take his word for what it is: clear thoughts from one perspective of what the theater could be, how it should be, and what is should not be. Brook separates theater into four slices: Deadly, Holy, Rough, and Immediate. In doing so, he opens up possibilities for the Dramatist and gives us a solid grounding in the more metaphysical aspects of [...]

    I've only been trying to get around to reading this book for 7 or 8 yearsBrook explores his experience of theatre, though is very specific to state that it is only his experience so far and that everything will change, as theatre is always changing. He breaks theatre down into 4 categories, Deadly, Holy, Rough and Immediate. These, of course, can overlap and interplay at any time. Deadly theatre is theatre that is predicable, set in its ways, repetitive, passionless. It is theatre that does not [...]

    Elisabeth M
    Alternately brilliant and boring. I think that Peter Brook is actually a profound man, but his writing on the theory of theatre gets tedious when he starts soliloquizing and forgets to include any means for the reader to put his abstractions into practice. At those times the book gets a self-infatuated tone, and loses believability. I spent most of the book slogging through, one paragraph at a time. That said, there are penetrating insights lodged within, and many times I felt he had unearthed a [...]

    Brook organiza sus ideas sobre el teatro con una metafísica de entrecasa. La aprovecha muy bien. No se molesta en aclarar si lo mortal, lo sagrado, lo tosco y lo inmediato son etapas o aspectos. Pero no le impide apelar a casos, y algunos de esos elementos se pueden llevar a otras formas de expresión. Lo mortal, por ejemplo, parece un peligro al que está expuesto el principiante que imita, y el profesional asimilado a un capital cultural decadente. Escribiendo desde el corazón de la tradici [...]

    Many people can easily go through life reading nothing but novels. I admit that is better than not reading at all, of course, but it wouldn’t do for me. While the novel is still my favourite genre, I always need to mix it with other reading matter: history, travel, short stories, graphic novels, essays, drama. I don’t think I’ve ever read a collection of essays on theater before, though.The empty space is apparently an essential text for drama students; I’d never heard of it. Its idea is [...]

    I like my theater like I like my men: deadly, rough, holy, and immediate.

    Jason Griffith
    What I found most interesting was Brook's examination of the role of the audience/spectator in theatre and how a "good house" can empower and participate with performers while a "bad house" can spoil a performance. While much of the book is more advice for actors and directors from the performance side, the parts which spoke to the connection between performers and audience members helped me to imagine what can be socially constructed between both groups within and during a live performance.

    Initially NO
    A funny provocative dated sociological text on theatre that has spawned a billion student essays.I think I read this chap-book manifesto 25 years ago. I know it was talked about a great deal by teachers of drama who got their degrees/ diplomas in the 1970s.It is very much a sales spiel, and, the author admits to making up 'successful productions' that didn't actually happen, when he first started directing theatre. It's on this basis, you've got to regard Peter Brook's enthusiasm and social acti [...]

    Um, good I don't know. I've only been slightly exposed to Peter Brook. I wanted to know more about his experiments with the Theatre of Cruelty but the book offered not much in the way of information. He organizes it around types of theater: deadly, which means empty; holy, which means transcendent maybe but also not necessarily possible; rough, which means accessible and effective, but lacking a bit in polish/grace; and immediate, which while its discussion formed the book's longest chapter, was [...]

    I liked the first and last chapters but found the middle rather dry. There were some interesting tidbits here and there throughout, but a lot of it was just stuff I've heard before.Some of my favorite parts:-When he moved the cardboard cutouts around to plan out his show and then found that the actors were completely different. I've done that!-The idea that all the blocking and designs (sets, costumes, etc.) should always be a work in progress-The show where all the actors got to costume themsel [...]

    Nobody who ever has or ever will stride upon a stage should be ignorant of this book. It is as essential to you as your next breath.

    Harding Young
    The Empty Space seems as important a study in theatre today as it did so many years ago when I first read it. In his chapter on Immediate Theatre, Brook says of his his own writing: "As I continue to work, each experience will make these conclusions inconclusive again. It is impossible to assess the function of a book—but I hope this one may perhaps be of use somewhere, to someone else wrestling with his own problems in relation to another time and place." As true as this might be, this work r [...]

    Chris Serpentine
    Very dense at times. Asks a lot of open ended philosophical questions.I don’t think I’ve ever had a book make me think this deeply.Theatre is living and breathing. It is never ACTUALLY within definition. Brooks offers four possible definitions. A pure theatre unattainable. We must attempt to be as pure as possible while understanding that “pure” is both without definition and defined by all - actor, audience, playwright, society (both current and timed).Brooks says it best at the end: Ev [...]

    I feel like this is one of those "Emperor's New Clothes" books. There are some really intriguing ideas but overall, I found it full of waffle and negativity. As a collection of speeches, essays and conversation that has been crafted into a book, I felt it lacked structure. It seems awfully dated too for the modern reader. That said, I did really enjoy the last chapter so I am glad I forced my way through as it contained many thoughts that I hadn't considered.

    One of the seminal books on theatre by master theatre director Peter Brooke. I first read this in the 1970s and have re-read several times. A must read for any serious theatre or acting student. Brooke's work makes you realise how artistically impoverished most modern theatre and television productions are.

    Diego Navarrete
    A must for the people who are interested in performing arts.

    What an eye opener! Loved it.

    Lena Chilari
    Atunci când cineva se află în acest spațiu gol, iar altcineva îl privește e tot ce e nevoie pentru a fi angajat într-un act teatral.

    Easily one of the most influential and best theatre directors of the 20th Century, Peter Brook has written a masterful collection of essays on the public's and artists' perception of theatre. Peter Brook is a true artist in the purest sense of the word to whom I looked up to for most of my life, which makes me and this review highly biased. I believe he very rightfully points out the many flaws in the American stage work, and then some in the work of the Brits to maintain balance, and praises hi [...]

    Although Brook praises Artaud throughout this book, and I'm not a fan of Artaud, I liked Brook's book. It was a fun, informative read, though I felt he often fell into one of the same traps that Artaud does--namely, presenting sweeping emotional reactions and transcendent experiences as though they were shared by either an entire audience or somehow by theatre goers everywhere. I'm somewhat skeptical of the communal reaction approach.But even as I say that I recognize the validity of most of the [...]

    Erinina Marie
    The Empty Space by Peter BrookThis book was very hard to get into for me, but after the first section, I couldn’t put it down, it was very inspiring. The book is divided into four sections about modern theater: Deadly, Holy, Rough and Immediate. I believe the problem in getting into it is Mr. Brook’s decision to begin with Deadly theater, which is essentially a tirade against all of the crap that most theater artists hate about popular, commercial theater. While I can empathize with this tir [...]

    I first read this book right after I graduated from college and have revisited it time and time again since. It is dense and Brook, as with his other books, is accessible and clear, but passionate. And he never dumbs down his thoughts and concepts for passive readers.In a nutshell, Brook explores what was (is) wrong with the professional theatre by breaking it down into overlapping categories: The Deadly, The Holy, The Rough and the Immediate. The Immediate, or a theatre that genuinely lives in [...]

    Daniel Iván
    It is hard to imagine a more insightful approach to art and to the deep implications of meaning as a cultural object. Brook gives us a detailed trip into his own considerations about theater and art, about the social role of the dramatic action and of the actor, the director and any person related to theater as both artists and human/social beings.This book has a definitive political input, because it confronts any given idea about the "modernity" of scenic arts and of any sort of performative a [...]

    Jonathan Chuang
    This is one of the best and most incisive books i've read concerning the artsI'm not even vaguely knowledgeable about theatre but his living language brings what's normally dense and difficult onto the stage of relatable experience, almost poeticallyLooking back, it changed many of my perspectives on what art should strive for and how it should present itself. Mostly for how it articulated so clearly the visceral quality of experience, and how that experience is shaped by social dynamics. Throug [...]

    Admittedly, I devoured this book in less than 24 hours and I was not motivated by pleasure or a desire to learn for my own edification. I needed to help one 16 year old child understand it so she could write a cherent paper on the book. Apparently this is a seminal work in understanding 4 types of theater. Ok, I do understand something about theater now that I previously didn't even know existed. I have to agree with the kid when she said, "The book is dense." It's a slim volume but yes, there i [...]

    The holy grail of theatre texts. I've read The Empty Space a few times, and on this read, I found myself really appreciating the latter half of the book, where Brook gets more into the nature of creating living theatre. Starting the book on a negative note somehow tells me things I've already learned instinctually, and I wonder now if it's the best tack to take, if it's best to draw people into the theatre world by telling them how badness abounds and what to avoid. But I can't really look at th [...]

    I re-read this again last night. My first reading was in high school and then again in college. Having worked in the field for a decade now, my perceptions and ideas have changed significantly. Brook seems to be writing in a meandering form that requires much prior knowledge of his contemporaries. This seems almost like a document that is a critics look at what else is going on, with the exceptions of his ideas on Deadly Theatre. The Holy Theatre chapter is worth re-reading annually alone and th [...]

    • [PDF] ↠ Free Read ↠ The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate : by Peter Brook ¹
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    • thumbnail Title: [PDF] ↠ Free Read ↠ The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate : by Peter Brook ¹
      Posted by:Peter Brook
      Published :2018-06-26T23:19:28+00:00