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Encuesta von Milton K. Ozaki
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Encuesta (Original 1968; 1973. Auflage)

von Milton K. Ozaki

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885918,755 (4.18)6
First published in 1968, "The Empty Space" is a timeless analysis of theatre, from perhaps the most influential director of the twentieth century. In "The Empty Space," groundbreaking director Peter Brook draws on a life in love with the stage to explore the issues facing any theatrical performance. Here he describes important developments in theatre from the last century, as well as smaller scale events, from productions by Stanislavsky to the rise of Method Acting, from Brecht's revolutionary alienation technique to the free form happenings of the 1960s, and from the different styles of such great Shakespearean actors as John Gielgud and Paul Scofield to a joyous impromptu performance in the burnt-out shell of the Hamburg Opera just after the war. Passionate, unconventional, and fascinating, his book shows how theatre defies rules, builds and shatters illusions, and creates lasting memories for its audiences.… (mehr)
Mitglied:otesanek
Titel:Encuesta
Autoren:Milton K. Ozaki
Info:Barcelona Península 1973
Sammlungen:Deine Bibliothek
Bewertung:
Tags:narrativa, ficción

Werk-Informationen

Der leere Raum von Peter Brook (1968)

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This short book from 1968 is one I should have read as an undergraduate in the 1980s. It is the first book by famed director Peter Brook, collecting a series of four lectures on the state of theater and its possibilities. The pieces do progress and build upon one another, moving from the critical viewpoint, through theory and history, to more practical concerns and perspectives.

The first part is "The Deadly Theatre," and in it Brook discusses all the ways in which theatrical works fail. "All through the world theatre audiences are dwindling" (10). There is a doom loop in which conventionality in writing, acting, and production, along with criticism and economic pressures, lead to lowered audience expectations, which in turn foster lackluster performances. The deadly theater is not integral to society, it is a superfluous appendage which can be profitably ignored.

In "The Holy Theatre" Brook addresses the ambition of the theater to make les Invisibles visible. He introduces the "illuminated genius" Antonin Artaud as the touchstone of this ambition, and recounts some of Brook's own experiments in a "theatre of cruelty." For further demonstrations of the "holy" trajectory, he outlines the work of Merce Cunningham, Samuel Beckett, and Jerzy Grotowski.

Brook's paragon of "The Rough Theatre" is Bertolt Brecht. The rough in some senses opposes the holy: rather than being drawn out of themselves by the holy, participants are thrown back into themselves by the rough. It is a theater of examination and exposure, rather than exaltation and ecstasy. But Brook insists that these two are complements that can and should inform each other, as they do--he claims--in the work of Shakespeare.

"The Immediate Theatre" brings the focus to the actual work of theatrical production, eventually settling on a (provisional) formula in the Francophone terms of repetition (rehearsal), representation (performance), and assistance (spectatorship). That these are all to some degree false cognates Brook does not explicitly make a matter of concern. He concludes with questions about whether theater can have enduring transformative effects for either its producers or its consumers.

Throughout this book, the prose is beautiful and eminently quotable. "It is not the fault of the holy that it has become a middle-class weapon to keep children good" (46). "As I continue to work, each experience will make these conclusions inconclusive again" (100). "Today, it is hard to see how a vital theatre and a necessary one can be other than out of tune with society--not seeking to celebrate the accepted values, but to challenge them" (134).

More than half a century after its composition The Empty Space is certainly valuable to students of 20th-century theater history, but also, I think, to anyone still concerned to generate and appreciate living performances in stage environments.
1 abstimmen paradoxosalpha | Sep 13, 2021 |
> Babelio : https://www.babelio.com/livres/Brook-Espace-Vide--Ecrits-sur-le-theatre/41615
> Oeuvres : https://www.librarything.fr/work/22866793/book/165635301

> L'ESPACE VIDE, de Peter Brook. — Bon, bon, bon ! Trois bon, bon pour commencer !
" Peter Brook n'est pas seulement un metteur en scène et pas seulement un théoricien, même pragmatique, du théâtre. Sans l'avouer, du moins dans ce livre, il a de plus grandes ambitions. Le théâtre est pour lui, à coup sûr, une fin.
Mais il est aussi le moyen de fonder et d'entretenir une communauté d'hommes et de femmes capables de porter atteinte, par leur seule exemple, aux ordre établi, d'apporter une inquiétude et un bonheur que d'autres arts du spectacle, trop dépendants des forces économiques qu'ils pourraient dénoncer, ne peuvent faire éclore.
Voici un livre indispensable à ceux qui aiment le théâtre et ceux qui ne l'aiment pas. A ceux qui en font et à ceux qui y assistent. Car il y est autant question du public que des interprètes, acteurs ou metteurs en scène, grâce auxquels le théâtre, écrit ou non écrit, peut vivre. ”
Extraits de la préface de Guy Dumur.
Voilà ! Il y a de quoi vous mettre l'eau à la bouche si vous avez un soupçon de goût pour le théâtre. Editions du Seuil, 184 pages. --Le quotidien du Saguenay - Lac-St-Jean, 28 mai 1977, Cahier 3
  Joop-le-philosophe | Aug 7, 2021 |
Dated writing but an interesting text that focuses on the how and why theatre is created. Looking at all elements of a creative company, Brook explores the intangible power of theatre. ( )
  caseybp | Apr 3, 2020 |
Publication of the four lectures Peter Brook delivered to university theatre studies classes in the United Kingdom. Basically describing contemporary British drama under four categories, each of which is a Chapter of this work. Here are surprising quotes:

1. Deadly Theatre. This is the "bad theatre"--"the form we see most often". Often the deadly element is "economic". [20]

2. Holy Theatre. The theatre of the invisible-made-visible. "We are all aware that mos of life escapes our senses." [47] And, "It is not the fault of the holy that it has become a middle-class weapon to keep children good." [51]

3. Rough Theatre. "It is always the popular theatre that saves the day." [73] And "We must open our empty hands and show that really there is nothing up our sleeves. Only then can we begin." [109]

4. Immediate Theatre. "Anyone interested in processes in the natural world would be greatly rewarded by a study of theatre conditions. His [!] discoveries would be far more applicable to general society than the study of bees or ants." [111] ( )
  keylawk | Jan 6, 2019 |
In The Empty Space, groundbreaking director Peter Brook draws on a life in love with the stage to explore the issues facing any theatrical performance. Here he describes important developments in theatre from the last century, as well as smaller scale events, from productions by Stanislavsky to the rise of Method Acting, from Brecht's revolutionary alienation technique to the free form Happenings of the 1960s, and from the different styles of such great Shakespearean actors as John Gielgud and Paul Scofield to a joyous impromptu performance in the burnt-out shell of the Hamburg Opera just after the war.
  RKC-Drama | Mar 24, 2011 |
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A performance gets set and usually has to be repeated -- and repeated as well and as accurately as possible -- but from the day it is set something invisible is beginning to die.
It is not the fault of the holy that it has become a middle-class weapon to keep children good.
We must open our empty hands and show that really there is nothing up our sleeves. Only then can we begin.
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First published in 1968, "The Empty Space" is a timeless analysis of theatre, from perhaps the most influential director of the twentieth century. In "The Empty Space," groundbreaking director Peter Brook draws on a life in love with the stage to explore the issues facing any theatrical performance. Here he describes important developments in theatre from the last century, as well as smaller scale events, from productions by Stanislavsky to the rise of Method Acting, from Brecht's revolutionary alienation technique to the free form happenings of the 1960s, and from the different styles of such great Shakespearean actors as John Gielgud and Paul Scofield to a joyous impromptu performance in the burnt-out shell of the Hamburg Opera just after the war. Passionate, unconventional, and fascinating, his book shows how theatre defies rules, builds and shatters illusions, and creates lasting memories for its audiences.

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