Peter Brook: A visionary theater director who brought the theater to life

The writer Jean-Claude Career, who regularly works with Peter Brooke, describes the director as follows: "Peter has a very strong presence, but what surprises me is his lightness." Others have also modified the images received by Brooke, especially later. This is a rigorous autocrat inspired by Gurujiev ("Guru takes them too seriously" was Brook's point of view).

Brook's expedition (hisis most of his work, which is often disturbing outside the text-based theater for some more empirical Anglo-Saxon drama critics. Reaffirming the theaterat the Buch Dunor Theater in Paris, where it is based (since 1970) was quasi-mysterious and even a drug without humor.

Theatrical explorer and showman Brooke died at the age of 97. He followed an extraordinary professional arc, from the solemn starry sky of the postwar graceful West End to the enthusiastic audience to his later experiments. Paris.

His early career was Nancy Mittford's Andre Russan'sLittle Hat(1950), Hit MusicalIrma la Douce(1959 and 1960). It covered the frivolous things on the main street. AndHouse of Flowers(1954) was designed by Cecil Beaton with a Harold Arlen score, based on Truman Capote's orchid novel.

The latter has become a classic story of a "road-problem" musical with extreme employment, firing and tantrum from the world after Brooke. When Broadway played the owner of the Caribbean Brotel, confronted the show's reconstructable star Par Bailey and told her, "We need to create a new Pearl Bailey," it's Broadway. I went against the reality of. Production "Muscle": "Honey, I haven't run out of old ones yet."

His youthful precociousness includes small pieces, often Sartor's. New European works were introduced, including the amazing evaluation ofHuis Clos(Arts, 1946). Garcin.

The movie also occupied him from childhood, and while still an undergraduate, he set up a small version of Stern'sSentimental Journey(1943), Sachagitry's {27. } Le Roman d'un TricheurThis is a reassessment of one of the few "fringe" theaters in London at the time, such asDoctor Faustus(Torch, 1944) and Cocteau'sLa Machine. It was done in parallel with. Infernale(Chanticleer, 1945).

His early work was intrigued by theprominent Gris, such as Hugh Beaumont and Sir Barry Jackson, who have strong HM Tennt management. Writer Gavin Lambert). For "Binky" Beaumont, Brooke has always been "Brooklet", and he and Jackson have effectively established their discovery as the most sought-after director of his time. For Jackson, he oversaw several Birmingham productions, includingKing JohnandMan and Superman(1945), and of his career. Young Paul Scofield who is an important person. Their success urged Jackson to take over Stratford's Memorial Theater and invite Brooke ("the youngest earthquake I know") and Scofield to him. Inspired by the famous and enchanting WatteauLoves Laborers Lost(1946), Scofield becomes an elegance Don Armado resembling the sad Springer Spaniel, an organization destroyed by prewar immigrant directors. Brought to life. Komisaljevsky was electrified near Avon.

It was Brooke's quest to finally incorporate modernism into the theater of the 20th century

(AFP / Getty)

But then his version ofRomeoand Juliet(1947) was disliked by purists, and his career was primarily a quest for ways to restore the "holy theater" to its original state. rice field. The "Deadly Theater" is almost fossilized by decoration, with Coward and Rattigan being its main theatricalists, Beaton or Oliver Messel's painting style-led design, all highly valued by HMTennent. ..

However, the urge to challenge was in Brooke's temperament when he was born. He was born in Turnham Green to Russian Jewish parents. His father was a successful electrician, from the liberal Dovinsk family, and joined Menchevic as a young man. His career was cultivated with the constant encouragement of his paternal. Already fascinated by the theater, he began exploring his first camera and film world.

Both Westminster School and Norfolk Gresham suppress Anglo-Saxon (Lord of FliesRoad of the Fly). The reaction to Oxford was similar, but the undergraduate theater flourished when it arrived at Magdalen in 1942. When he violated college rules (he kept his friend after the lockup), Magdalen moved to send him out. Strong defenses from his father in the episode of Lattigan'sWinslow Boysaved him, but Oxford also showed the most subtly deadly British institutional bias. Gave me an urge to constantly question.

He still wrote a lot – throughout his career, Brooke had a kind of dialogue with himself in countless articles (especially the pioneering 1960sAngkorHis Contribution to the Magazine) – RegularlyObserverHis Russian heritage merges with modern bias, giving his writing extraordinary enthusiasm and his developing sensibilities. Strongly influenced.

It's amazing how Brooke can adapt to designers of different backgrounds with the goal of ultimately bringing modernism to the theaters of the 20th century. Wakevic is a seemingly endless retreat of his innovativeBoris Godunov(1948) in the Covent Garden, where another mandarin of the art world, David Webster, carries a young Brooke. Designed with a dazzling climax. The staff of the apparently ancient administration of Floral Street did not share the boss's feelings towards the pioneers and was not a little responsible for his short career as a production director of the house.

Brooke directed the actors during the 1991 "Tempest" rehearsal

(AFP / Getty)

Salome(1949) Brooke chose Salvador Dali to create the fantastic landscape of Opite's dream. He refused to share the traditional curtain call with the director) and most critics.

At the west end of the tenant, Brooke harmonizes with Messel with Anouil'sRing Round the Moon(Aldwych, 1949) in a cloudy winter garden.Little HatAgainst the desert island of Messel, an exotic paradise of giant fruits and flowers. Equally successful, Brooke enchantedly idealized the eccentricity of the countryside during the Napoleon War in John Whiting'sPenny For Songto thePunchcartoonist Roland Emmet. Asked for a congratulation (Haymarket, 1951).

In contrast, when Brooke returned to Stratford forMeasure for Measure(1950), he recently designed himself (also of musical concrete). Illuminated and created the score). A simple permanent set with sharp lighting, this became a psychological thriller in Brooke's hands, with Barbara Jeffford's Isabella (her spectacular pause in the climax confrontation of the drama legend) and Giel Gadd. Marked a breakthrough performance as an explicit performance from.

Gielgud is under Brooke,The Winter's Tale(Phoenix, 1951), and then with the rare resurrection of Otway'sVenice Preserv'd, Leontes close to spirit. Continued to bend new muscles.(1953) The other side of Scofield.

After that, everything in Brooke seemed to be constantly changing. In 1951 he married actor Natasha Parry, who shares the life of a theater adventure. Professionally he continued to provoke and inspire. His 1952 movieTheBeggar's Operafeatures Herbert Wilcox (well known for his wife Anna Neagle's screen romance) and its star Laurence Olivier (too much bandbox trim as Matheath). It was produced by a combination that is unlikely. From Denis Cannan, a regular collaborator. The best aspect of the patchy movie is Wakevic's 18th-century London, but Wilcox's attention to color robbed Brooke's original concept of Hoggers monochrome.

'Peter has a very strong presence, but what surprises me is his lightness. 121}

For Beaumont, he hosted the 1955 Phoenix Theater season featuring a relatively lukewarm venture, Scofield. The resurrection of TS Elliott'sfamily reunionis at best loyal, and only the whiskey priest, who has the inefficient impact of Scofield, is the pedestrian version of Kannan's Graham Green'spower and glory { Saved 121}. The scrap-likehamlethad improved by the time we toured the freshly thawed Moscow.

Feeling the need to spread his wings because he couldn't do a satisfying job, Brooke went to Tennessee Williams'Cat on a Hot for French culture and Paris (more immigrant art than London). I have expanded my romance with (often resembling a house). The view from thebridge of the tin roof(Theatre Antoine, 1956) and the fascinating Jeanne Morrow and Arthur Miller(1958).

With the help of his French agent Michelin Rozan, Brooke, along with Marie Bell, the great Madame, of Jean Genette'sbalcony(Theatre du Gymnasse,) The long-awaited premiere of 1960) has been set. Of Brotel in the play designed by Brooke as a maze of picture frames reminiscent of Gennett's fantasy house. From the controversy over this, he photographed Marguerite Duras'sModerate Cantabile(1960). Brooke's unwavering lens.

In France, Brooke was on avisitreading the script of Friedrich Durenmatt's postwar German moral corrosive study. It will be his last work for their vale dictory look and Beaumont. It was a meticulously tense piece, full of his brave talent for group episodes, but the key scene where two ex-girlfriends of old age meet in the woods mounts on a virtually empty stage. it was done.

Brooke's "Lord of Flies" (1963) scene

(shutter stock)

In the 1960s Of some of Brooke's best works. Peter Hall asked him to be part of what he originally intended as a "university" RSC, and for the new company heKingria(1962), Durenmatt's dark nuclear allegoryPhysicist(1963) and Peter WeissMarat / Sade(1964). Over the last decade, withUS(1966), a joint study of Vietnam's issues involving the company, and the international success ofMidsummer Night's Dream(1970). It has reached its peak.

Undoubtedly influential was RSC's experimentalcruel theater 1964 season director and Genet'sscreen at Donmer WarehouseLeaded to the version of. Brook's mining of Antonin Alto'sLe Theater and his son Double, and feeding for many subsequent jobs.

During that turbulent decade of Brooks, I saw some of the iconic designs and most powerful performances of the British stage. For Oedipus (1968), Brooke designed a rotating silver box for the plague-bound Tebe. It assembled Oedipus's unforgettable presence from Gilgud, who turned himself into the most contemporary actor, primarily under the guidance of Brooke since 1950. A rewarding design collaboration with Brooke's Sally Jacobs – in the case of Marat / Sad, her vast tiled Charenton asylum inevitably reminded me of a concentrated camp – especiallyIt was always important in the "empty space" of the white box in A. Midsummer Night's DreamWhat might have been a disinfection room was filled with stunningly beautiful, memorable images of Titania's Bauer created by giant red feathers floating from flies.

Also arrested was the landscape of Beckett in RSC Kingria. This is the world of steel and barbaric monochrome before Leah travels from madness to reconciliation. The storm scene suggested by three giant metal plates was successful, most of the works stumbled, the grizzling Scofield soared into a true tragic empire, and Leah's heart was unleashed.

Luba Wellich plays the lead in Brooke's "Salome" at the Royal Opera House in Covent Garden


It was confusing to many at the time, but looking back, it seems natural for Brooke to move to Paris in 1970. The International Center for Drama Research was established under the management of

Michelin Rozan of Craig, Stanislavsky, Meyerhold, Brecht and Grotowski. Its fundamental quest is to explore the essence of the play itself. The group's journey took them all over the world, whose work took advantage of the creation of Mannish and the legend of Persian history, first mounted at the Schillers Persepolis Festival, in the mythicalorgast( It culminated in the language invented by Ted Hughes for 1971).

For some critics, despite the visual power of production (the use of Brooke's fire was particularly impressive), this work is the emperor's new clothing syndrome, traveling It may suggest picking of Sherman / Showman scorpionfish. Particularly attacked wasIk(1975), which is Brook's last empty space, weathered, based on an explanation of how ethnologist Colin Turnbull spent with the Ugandan tribe. First seen on the Bouffes du Nord. Critics have accused the Bourjois actor of being an intellectually depressed, neo-wolfian "radical chic" that recreates ancient folk rituals.

Such accusations tend to lose their stinging on the variety and achievements of many of Brooke's Paris-based works. The slimmed-downTimon of Athens(1974) evokes a sophisticated corporate world, elusive play in his lazy study ofCherry Orchard(1981). I found the bitter core of. It's a real set, but there were some rich carpets on the peeling Buch wall, and there was Natasha Parry's bright Ranevsky. Also fused with the same muscle tension was the finalHamlet(2000), a version of Adrian Lester playing quickly and uninterrupted for two and a half hours.

Brooke piloted an absorption version of the manwho mistaken Oliver Sachs'wife for his hat,L'Homme Qui(1992). I will explain his basic practicalism. Equally influential were both hands after his wife and Michelle Piccoli lived in Chekhov and Olga Nipper through the letterTa Main dans la Mienne(2003). His work remained remarkable. In 2005 he oversawTiernoBokarbased on Mariansufie's life, and in 2011 captivated Mozart withA Magic Flute

. rice field. Characterized by a combination of his extraordinarily long career humility and indelible curiosity. Brooke did not consider himself an autocrat of any kind. Jean-Claude Carriere understood this when he said: un enfant Experimente'”.

The theater director, Peter Brook, born March 21, 1925, died July 2, 2022

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