Wednesday, 18 April 2012
Monday, 16 April 2012
The Deadly Theatre
Read the essay The Deadly Theatre
Supporting your argument with quotation from the text, explain what you understand Brook to mean by the term Deadly Theatre
Monday, 26 March 2012
“The theatre is the arena where a living confrontation can take place.”
This is Peter Brook
Saner than Artaud
More humble than Brecht
More readable than Stan
...and more alive than all three put together
Here are some places to go...
The first is an excellent record of Brook's groundbreaking production of A Midsummer Night's Dream
http://www.touchstone.bham.ac.uk/exhibition/MND/home.html
The second and third are good extracts of his work. Read some and see how much sense he makes.
http://www.so-rimlee.com/literature-supernova/2011/4/29/peter-brook-on-deadly-theatre-in-the-empty-space.html
http://owendaly.com/jeff/grotowsm.htm
The last is his seminal book The Empty Space in its entirety in PDFtastic form.
http://preterhuman.net/texts/religion.occult.new_age/occult.conspiracy.and.related/Brook,%20Peter%20-%20The%20Empty%20Space.pdf
Post responses
not compulsory; but excellent
http://www.bbc.co.uk/iplayer/episode/b01dppfp/Henning_Knows_Best_Politics/
Quality stand up from the German comedy ambassador to the UK.
Quality stand up from the German comedy ambassador to the UK.
Tuesday, 20 March 2012
you ain't seen nothin' yet
Watch one.
How does it fit with what you have learned of Artaud?
What do you think the desired effect for a spectator is?
What do you think the message is?
Finally
Is it entertainment?
the first manifesto
THE PROGRAM: We shall stage, without regard for text:
1. An adaptation of a work from the time of Shakespeare, a work entirely consistent with our present troubled state of mind, whether one of the apocryphal plays of Shakespeare, such as Arden of Feversham, or an entirely different play from the same period.
2. A play of extreme poetic freedom by Leon-Paul Fargue.
3. An extract from the Zohar: The Story of Rabbi Simeon, which has the ever present violence and force of a confla-gration. [Editor's note: The Zohar is a pseudo-epigraphic work, supposedly a mystiecal text written by Rabbi Simeon bar Yohai, but scholars have identified the author as thirteenth century Kabbalist, Moses de Leon.
4. The story of Bluebeard reconstructed according to the historical records and with a new idea of eroticism and cruelty.
5. The Fall of Jerusalem, according to the Bible and history; with the blood-red color that trickles from it and the people's feeling of abandon and panic visible even in the light; and on the other hand the metaphysical disputes of the prophets, the frightful intellectual agitation they create and the repercussions of which physically affect the King, the Temple, the People, and Events themselves.
6. A Tale by the Marquis de Sade, in which the eroticism will be transposed, allegorically mounted and figured, to create a violent exteriorization of cruelty, and a dissimulation of the remainder.
7. One or more romantic melodramas in which the im-probability will become an active and concrete element of poetry.
8. Büchner's Wozzek, in a spirit of reaction against our principles and as an example of what can be drawn from a formal text in terms of the stage.
9. Works from the Elizabethan theater stripped of their text and retaining only the accouterments of period, situa-tions, characters, and action.
1. An adaptation of a work from the time of Shakespeare, a work entirely consistent with our present troubled state of mind, whether one of the apocryphal plays of Shakespeare, such as Arden of Feversham, or an entirely different play from the same period.
2. A play of extreme poetic freedom by Leon-Paul Fargue.
3. An extract from the Zohar: The Story of Rabbi Simeon, which has the ever present violence and force of a confla-gration. [Editor's note: The Zohar is a pseudo-epigraphic work, supposedly a mystiecal text written by Rabbi Simeon bar Yohai, but scholars have identified the author as thirteenth century Kabbalist, Moses de Leon.
4. The story of Bluebeard reconstructed according to the historical records and with a new idea of eroticism and cruelty.
5. The Fall of Jerusalem, according to the Bible and history; with the blood-red color that trickles from it and the people's feeling of abandon and panic visible even in the light; and on the other hand the metaphysical disputes of the prophets, the frightful intellectual agitation they create and the repercussions of which physically affect the King, the Temple, the People, and Events themselves.
6. A Tale by the Marquis de Sade, in which the eroticism will be transposed, allegorically mounted and figured, to create a violent exteriorization of cruelty, and a dissimulation of the remainder.
7. One or more romantic melodramas in which the im-probability will become an active and concrete element of poetry.
8. Büchner's Wozzek, in a spirit of reaction against our principles and as an example of what can be drawn from a formal text in terms of the stage.
9. Works from the Elizabethan theater stripped of their text and retaining only the accouterments of period, situa-tions, characters, and action.
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