“The spirit, this immaterial matter that cannot be justified and shown, is the only justification for the theatrical event,” said Peter Brook, one of the greatest personalities on the international theater scene, always and today disappears at 97 (he was born on March 21, 1925), with all the richness of his work, the most mythical.
It would be enough to remember his’Marat Sade‘von Weiss in the mid ’60s and then the Colossal’Mahabarata‘, show for Avignon in 1985, which later became a film and recently a graphic novel.
“The tightrope act is the image that best represents my idea of theatre,” he explained, adding: “I don’t want to teach anything, I’m not a teacher, I have no theories”. What was important to him was always the impression of stimulating the imagination, which is the freer, the more essential and stronger the starting point. Brook has always championed the obliteration of all artifice, ensuring that the diaphragm between life and art is transcended and the notion of fiction all but destroyed in the face of the unveiling of a profound existential truth. In this way, theater became an intimate collective life experience for him, because “when a group of people gathers for a very intense event that has to express everything that a great author can give in poetry, the spirit becomes tangible because it makes that tangible is this “impression is not to be had in solitude and means for everyone that life can be lived”.
Theater has accompanied Brook since childhoodwhen he signed his first directorship at the age of 18 and thus made a name for himself as an interpreter of Shakespeare’s works, so much so that he first became director of London’s Royal Opera House and in 1962 of the Royal Shakespeare Company, where he combined the classics with a number of modern works and experimental works, particularly inspired by Artaud’s “Theatre of Cruelty”, such as a famous “Marat-Sade” by Peter Weiss and “Us”, which referred to the violence of the Vietnam War.
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