Peter Brook

Este es un libro de reflexiones acerca del arte de la interpretación y del arte en general. Salpicado de anécdotas y reflexiones, muchas veces humorísticas, Peter Brook hace un repaso a su carrera profesional referida al teatro, al cine y a la opera.

«Leer a Brook es encontrarse con alguien que ama su oficio y que, como todo amante, reconoce al amado como un misterio que no se agota y del que siempre querremos saber algo más.» Pablo Messiez En

«Un incomprensible equívoco persigue a este libro desde su aparición. Pese a tratarse de una obra tan clara y profunda como entretenida, mucha gente todavía cree, a tenor de su título, que El espacio

La calidad de la misericordia, un libro en el que Brook reflexiona sobre el gran Shakespeare. Desde el prisma del humor y haciendo gala de una vitalidad envidiable, como sólo alguien con oficio y experiencia sobrada podria hacerlo, analiza algunos de los textos del dramaturgo, sin solemnidad y con un profundo amor al arte escenico y a la palabra. El veterano autor -del fundamental El espacio vacio- describe el vertigo sentido y el placer experimentado en los procesos de trabajo, relativos a los montajes que, a lo largo de su dilatada carrera, ha realizado sobre textos del inmortal Shakespeare.

A thoughtful and deeply personal book by a master theatre-maker.In Tip of the Tongue, Peter Brook takes a charming, playful and wise look at topics such as the subtle, telling differences between French and English, and the many levels on which we can appreciate the works of Shakespeare. Brook also revisits his seminal concept of the empty space, considering how theatre and the world have changed over the span of his long and distinguished career.Threaded throughout with intimate and revealing stories from Brooks own life, Tip of the Tongue is a short but sparkling gift from one of the greatest artists of recent times.

Nesse livro, Peter Brook trata de diferenças sutis do reconhecimento do mundo que temos por meio da língua, revisita seu conceito de "espaço vazio", aborda diversos níveis de apreciação das obras de

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.

Tocando de ouvido: Reflexões sobre música e som tem como ponto de partida as aulas de piano que tinha aos 12 anos com sua professora russa, o autor inglês aborda as mais variadas facetas do espectro

I can take any empty space and call it a bare stage.Peter Brooks seminal book, an acknowledged classic of theatre writing, sets out many of the ideas about theatre which informed his lifelong work as a theatre director, from his iconic white box production of A Midsummer Nights Dream and his ground-breaking adaptation of The Mahabharata, to his work at the International Centre for Theatre Research.Available as an ebook for the first time since its original publication in 1968, The Empty Space remains a cornerstone of thinking about theatre. Written with a refreshing clarity, and full of personal insights, it sets out Brooks influential concept of the four different types of theatre The Deadly Theatre, The Holy Theatre, The Rough Theatre and The Immediate Theatre and investigates the evolution of theatrical ideas, from Stanislavsky and Method acting to Brecht and Happenings, as well as examining different ways of playing Shakespeare.Firmly rooted in Brooks own experience as a ceaselessly questing theatre-maker, The Empty Space continues to inspire and instruct new generations of theatre-makers everywhere.

“Au théâtre, lennui, tel le diable, peut surgir à chaque moment. Il suffit dun rien et il vous saute dessus. Il guette, il est vorace ! Il cherche le moment pour se glisser de manière invisible à lin

Shakespeare et Peter Brook se connaissent depuis longtemps. Ils ont très souvent travaillé ensemble, dans tous les pays du monde, et pour le meilleur. Tout au long de sa vie, Peter Brook a exploré le

“Au théâtre, lennui, tel le diable, peut surgir à chaque moment. Il suffit dun rien et il vous saute dessus. Il guette, il est vorace ! Il cherche le moment pour se glisser de manière invisible à lin

Dans cette adaptation, très condensée, de la dernière pièce de Shakespeare, La Tempête, Peter Brook nous donne à voir comment cette pièce si méconnue du répertoire du dramaturge entre en résonance av

"Jaurais pu appeler ce livre Faux Souvenirs. Non que je veuille consciemment dire des mensonges mais, en écrivant, je maperçois que le cerveau ne dispose pas dune chambre froide où conserver nos souv

"Peter Brook nest pas seulement un metteur en scène et pas seulement un théoricien, même pragmatique, du théâtre. Sans lavouer, du moins dans ce livre, il a de plus grandes ambitions. Le théâtre est

"Jaurais pu appeler ce livre Faux Souvenirs. Non que je veuille consciemment dire des mensonges mais, en écrivant, je maperçois que le cerveau ne dispose pas dune chambre froide où conserver nos souv

El espacio vacío, publicado originalmente en 1968, constituye una de las principales aportaciones modernas a la teoría dramatúrgica. Con un estilo sencillo y un profundo conocimiento de la materia, Peter Brook se cuestiona la validez del teatro y nos muestra lo que es y ha sido para el hombre en tanto que realizacion de si mismo.

Listen!In this collection of new essays, the world-renowned director Peter Brook offers unique and personal insights into sound and music from the surprising impact of Broadway musicals on his famous Midsummer Nights Dream, to the allure of applause, and on to the ultimate empty space: silence.It is studded throughout with episodes from the authors own life and career in opera, theatre and film including working on many of his most notable productions, and intimate first-hand accounts of collaborating with leading figures including Truman Capote, Laurence Olivier and Vivien Leigh and ranges across musical styles and cultures from around the world.Playing by Ear is full of Brooks shafts of insight and perception, and written with his customary wit and wisdom. It is a rich companion to his earlier reflections on Shakespeare in The Quality of Mercy and on language and meaning in Tip of the Tongue.