|
Peter Brook 1925–, English theatrical director. An innovative, unconventional, and controversial figure, Brook mounts energetic productions in which the entire stage is utilized; he often has his actors singing, playing musical instruments, and performing acrobatics. His production of Love's Labour's Lost (1946) began his long association with what became in 1961 the Royal Shakespeare Company. Subsequent Shakespearean productions included Measure for Measure (1950), Titus Andronicus (1955), King Lear (1962), and A Midsummer Night's Dream (1970), which was set in a kind of adult playground with trapezes, stilts, and spinning plates. Other Brook productions for the Royal Shakespeare Company included his famous setting of Peter Weiss's Marat/Sade (1964), a play within a play set in the insane asylum housing the Marquis de Sade that examines both revolution and madness, and US (1966), an attack on U.S. involvement in Vietnam. During the 1960s, Brook's productions were influenced by the shock tactics of Antonin Artaud and the analytical detachment of Bertolt Brecht.
Brook has also directed films, such as Moderato Cantabile (1960), Lord of the Flies (1963), and King Lear (1971); and operas, such as Faust and Eugene Onegin. In the 1970s, he founded the International Center of Theatre Research in Paris, an assembly of actors, dancers, musicians, and other performers of many nationalities. Their most recognized achievement was a nine-hour presentation of the Indian epic, The Mahabharata (1985). Since then Brook has created a variety of other theatrical works, such as a version of Oliver Sacks's The Man Who Mistook His Wife for a Hat (1994), a production of Mozart's Don Giovanni (1998), and a streamlined Hamlet (2000). His books on the theater include Empty Space (1969), The Shifting Point (1987), and The Open Door (1995).
See his autobiographical Threads of Time (1998); Gregory Boyd, ed., Between Two Silences: Talking with Peter Brook (1999); biographies by J. C. Trewin (1971) and A. Hunt and G. Reeves (1995).
|
