From Publishers Weekly
For the ordinary theatergoer, Shakespeare has become a bit of a bore, Brook maintains. Yet the Bard's "cubism of the theater," his curious splicing of verse and prose, ought to resonate with meaning for us today. Here the well-known director explains the rationale behind his controversial productions of King Lear and Romeo and Juliet. This tapestry of essays, notes and manifestos includes a section on the international, multicultural theater group Brook organized in Paris to reinvent the sounds, gestures and scripts that he feels should animate true theater. He relives the group's three-month journey in Africa, which led to his mounting The Conference of the Birds. Another play in which ceremony and performance fuse, Brook's re-creation of the Indian epic Mahabharata, is also discussed. Several pieces on opera explore ways to revive what he considers an artificial, stagnant form. With its far-reaching perspective on avant-garde and classical theater, this journal will reward even readers who are not familiar with the works discussed.
Copyright 1987 Reed Business Information, Inc.
About the Author
Peter Brook is one of the giants of twentieth-century theatre, a unique creative genius who, through his groundbreaking productions of "King Lear", "Marat/Sade", "A Midsummer Night's Dream", and especially "The Mahabharata", has virtually reinvented the way actors and directors think about theatre.
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