[PDF] ✓ Unlimited ☆ The Open Door : by Peter Brook Ñ

  • Title: The Open Door
  • Author: Peter Brook
  • ISBN: 9781400077878
  • Page: 138
  • Format: Paperback

  • From King Lear to the Tragedy of Carmen, from Marat Sade to the epic Mahabharata, Peter Brook has reinvented modern theatre, not once but again and again In The Open Door the visionary director and theorist offers a lucid, comprehensive exposition of the philosophy that underlies his work It is a philosophy of paradoxes We come to the theatre to find life, but that lifeFrom King Lear to the Tragedy of Carmen, from Marat Sade to the epic Mahabharata, Peter Brook has reinvented modern theatre, not once but again and again In The Open Door the visionary director and theorist offers a lucid, comprehensive exposition of the philosophy that underlies his work It is a philosophy of paradoxes We come to the theatre to find life, but that life must be different from the life we find outside Actors have to prepare painstakingly yet be willing to sacrifice the results of their preparation The director s most reliable tool may be his capacity to be bored Brook illustrates these principles with anecdotes that span his entire career and that demonstrate his familiarity with Shakespeare, Chekhov, and the indigenous theatres of India and Iran The result is an unparalleled look at what happens both onstage and behind the scenes, fresh in its insights and elegant in its prose.
    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


    page 102: "It (an audience) will only be irresistibly interested if the very first words, sounds or actions of the performance release deep within each spectator a first murmur related to the hidden themes that gradually appear. This cannot be an intellectual, least of all a rational, process. The theatre is in no way a discussion between cultivated people. The theatre, through the energy of sound, word, colour and movement, touches an emotional button that in turn sends tremors through the inte [...]

    This is the fundamental book for all those who see art as not an ego driven, elitist product, but as a spiritual process which transforms artist and audience with honor. Although written by the guru of theatre, for me, it transcends to an ever powerful philosophy, prompting me to be a better human being. For those of you who know me and "Sphota," this is where it can be found.

    Sol Rezza
    Fantástico libro, recomendado no sólo para aquellos interesados en el teatro. Me parece importante para cualquier profesor de cualquier arte. Un libro pensado, con relatos de ejercicios teatrales interesantes.

    之前想說來讀一下從沒瞭解過領域的書籍, 選了這一本有關於劇場的書, 結果只能說: 沒瞭解過的還是不要想瞭解吧(至少不要以為只讀了一本書就能瞭解).閱讀過程中, 一直昏昏欲睡, 而且也看不懂作者想要表達的事(雖然作者似乎是很有名的劇作家), 尤其是又臭又長的第一章, 完全沒有弄懂一丁點, 一邊讀只是一邊想: 我何苦看這本書啊!

    Important for any kind of performer.

    Julio Pérez
    Entre interpretaciones y reflexiones de Peter Brook pude encontrar una fase muy hermosa como actor. Recuerdo llevarme este libro a conciertos, a obras y repetirlo una y otra vez por gusto. Supe que ya era momento de dedicarle tiempo completo y decidí re-empezarlo desde el principio hasta llegar al final en este fin de semana. Ya sea por sus reflexiones del elemento humano, la perfecta armonía de "pensamiento, emoción, cuerpo", la "inmediata' del teatro sagrado y el teatro tosco, el misterio y [...]

    حسين عبدعلي
    هذه المرة الثانية التي أدخل فيها باب بيتر بروك المفتوح وأفكاره في المسرح والتمثيل أقرأهُ مرة أخرى لمجرد تذكيري لا أكثر، أنه في الوقت الذي يتمسك البعض بالعلبة الإيطالية وكأنها قرآن مدرسي لا يحيد عنه، مكفراً كل من تسول له نفسه الخروج منها وفي الوقت الذي تصرف الملايين من الدنا [...]

    Duc Do
    Peter Brook needs no introduction. Quietly insightful about the art of the theatre, Peter has transcended theatre to produce an eloquent text on life itself.Peter has managed to strike the right balance between "think" and "feel". He "knows" the illusion of time and space, and has found a simple language to transmit this precise state of consciousness. He also threw in a few practical techniques to help actors improve their craft.A must read for artists of all levels (not just actors), and for s [...]

    PB articulates in great detail why theatre is valuable and what makes it lose it's impact in our lives. The relationship with the audience, the danger of codification and "sponsors". He remains for me the single most inspiring voice in theatre. I'd almost rather read Peter Brook on theatre than actually do theatre almost

    Ethan Everhart
    Brook had a very annoying tendency to default to a male pronoun when referring to people, but like abnormally often. Also he used concerning terms like "Orientals." Other than that, the book had a lot of fascinating ideas for staging theatre.

    Excellent reading for stage actors.

    This book is like brain candy. It is an insightful and refreshing examination of what makes theatre art.

    Kyle Cooper
    While not as life changing to me as Brooks' "Empty Space", this is an important book for anyone involved in theatre, if not just for the third section alone.

    • [PDF] ✓ Unlimited ☆ The Open Door : by Peter Brook Ñ
      138 Peter Brook
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      Posted by:Peter Brook
      Published :2018-011-17T14:00:05+00:00