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Peter Brook

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sierra morrison

on 20 January 2014

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Transcript of Peter Brook

Peter Brook

Purpose of Theatre
Peter Brook believed the purpose of theatre was..
Famous for Shakespeare memorials
Peter Brook
Idea 2
Best Achieved by...
Society needs changing
What his work left us with
Society needs changing
Truthfulness of Emotions
Method acting
Audience must feel emotions
sympathize with them
Human connection is the essence of good theatre
Reality must be the goal
Language Barrier
Believed that language was restricting
Purpose was to appeal to everyone
Revelation within themselves
New consciousness
Purpose was to evoke revelation within the audience members
Originally Artaud's ideas, Brook put into action these ideas
Philosophers and pessimists
Believed in truth of emotions
Did this by:
Early readings devoted to analysis of objective
Improvisations that developed background information of character
Real identity /authenticity
Over complicated in early rehearsals, then cut things out
Human Connection
Used acrobatics and highly physical elements in his performances
Actions speak louder than words
Used chants, cries, howls -universal relationship
Deeper relationship between audience and actors
Used lighting, set, props, costumes, and action
Goal: Revelation within themselves
Violent lighting,staging, and acting.
Cruel means not torture but harsh reality of emotions
Example of a workshop: Actor attempting to portray a dramatic scene with a certain state without using actions at all.
Improvisations early rehearsals to create a background of character
Often cut out details in the script, believed simple was better
Liked no script, just howls, cries, and chants for universal language
Scripts intended to have the audience feel and sympathize

Technical Elements
Violent lighting, fast, dark.
Violent acting , fight scenes, subjects that would bring emotion out of the audience
Revealed startling visual effects
Staging, dramatic scenes, spacing was important.
Able to present reality on stage with a clear concept
Example, 1966 US, response to crisis in Vietnam.
No script, put together fast by RSC, uprising.

Characterization through physical exercises ex. batons around a circle to understand Shakespeare
Actors would sing speeches, climb ladders while they rehearsed
Chants, cries, howls for universal language
Would sing alternate lines (Sinatra to Mick Jagger)
Used set, props, costumes, and mostly action to portray communication
Some of them..
1950 Measure for Measure with John Gielgud (Shakespeare Memorial Theatre)
1952 The Winter's Tale with John Gielgud (Shakespeare Memorial Theatre)
1958 Titus Andronicus with Laurence Olivier (Shakespeare Memorial Theatre)
1962 King Lear with Paul Scofield
1964 Marat/Sade
1966 US an anti-Vietnam protest play with The Royal Shakespeare Company, documented in the film Benefit of the Doubt
1970 A Midsummer Night's Dream
with John Kane (Puck), Frances de la Tour (Helena), Ben Kingsley (Demetrius) and Patrick Stewart (Snout): see 1970 Royal Shakespeare Company production of A Midsummer Night's Dream

Controversial, enjoyed the revelation
People enjoyed seeing a sense of reality within Peter's directing

Tony Award for Best Direction of a Play for Marat/Sade, 1966[10]
Tony Award for Best Direction of a Play for A Midsummer Night's
Dream, 1971
Emmy Award, 1984, for La tragédie de Carmen
Prix Italia, 1984
International Emmy Award, 1990, for The Mahabharata
Praemium Imperiale, 1997
Dan David prize, 2005

Theatre of Cruelty - Antonin Artaud (temperment, addiction, depression, reality)
Ideas could be used to find new forms of expression
Reality of life in scene
Universal language
Emotions of character
Understanding of one another
Human connection
Act 1- Confused Carol, John attempts to help
Act 2- Formal complaint of behavior, Johns life
Act 3- Final meeting, understanding of emotions, criminal charges

Lighting , stage business, creating a believable character, spacing, rehearsal time, props, costumes

Accepting to concerns of the actors

Peter Brook
Based on Jim Harvey's speech structures
Theatre of Cruelty
Audience is key, emotions, engaging.
Society needs changing
The Suit
born in 1925 in the suburbs of London to Jewish immigrants (Simon Brook and his wife Ida Jansen
Westminster School, Gresham's School and Magdalen College, Oxford.
Passion for theatre, young age ( Hamlet age 10, he played all the roles), really began in university
Normal household
married Natasha Parry and has a son and daughter
Full transcript