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This is a special collection of books , written by Peter Brook or about Peter Brook. The first two books 'The Empty Space' and 'The open Door' are a must read for anyone wants to understand Peter Brook's ideas . To order the any book from this collection or to read more about it click on 'Buy from'


The Empty Space

by Peter Brook

Peter Brook's career, beginning in the 1940s with radical productions of Shakespeare with a modern experimental sensibility and continuing to his recent work in the worlds of opera and epic theater, makes him perhaps the most influential director of the 20th century. Cofounder of the Royal Shakespeare Company and director of the International Center for Theater Research in Paris, perhaps Brook's greatest legacy will be The Empty Space. His 1968 book divides the theatrical landscape, as Brook saw it, into four different types: the Deadly Theater (the conventional theater, formulaic and unsatisfying), the Holy Theater (which seeks to rediscover ritual and drama's spiritual dimension, best expressed by the writings of Artaud and the work of director Jerzy Grotowski), the Rough Theater (a theater of the people, against pretension and full of noise and action, best typified by the Elizabethan theater), and the Immediate Theater, which Brook identifies his own career with, an attempt to discover a fluid and ever-changing style that emphasizes the joy of the theatrical experience. What differentiates Brook's writing from so many other theatrical gurus is its extraordinary clarity. His gentle illumination of the four types of theater is conversational, even chatty, and though passionately felt, it's entirely lacking in the sort of didactic bombast that flaws many similar texts. --John Longenbaugh




The Open Door

by Peter Brook

What is theater? International film and stage director Peter Brook examines this question in a series of three essays. By drawing on his own professional experiences, Brook approaches theater not as a cultural event but, rather, as an event of culture. Although Western cultures often perceive theater as a divertissement, other cultures esteem theater on significantly more intimate terms. From the Japanese No to the Iranian Ta'azieh to his own production of Shakespeare's Tempest, Brook offers insights into how, as a director, he meets the emotional needs of the audience. Edward Lighthart--








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