The Empty Space - Revision history

LauraVDS at 09:19, 4 May 2023

2023-05-04T09:19:00Z

← Older revision		Revision as of 09:19, 4 May 2023
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	''~~Peter Brook’s 1968 book,~~ The Empty Space~~, describes four forms of theatre~~: deadly, holy, rough ~~and~~ immediate. ~~These ideas have been foundational to how directors~~, ~~actors~~, ~~designers and others have thought about theatre in the late 20th century~~.''		''Het boek "The Empty Space" uit 1968 van Peter Brook beschrijft vier vormen van theater: deadly, holy, rough en immediate. Deze ideeën zijn fundamenteel geweest voor hoe regisseurs, acteurs, ontwerpers en anderen aan het eind van de 20e eeuw over theater hebben gedacht.''

	[[File:I02 G.08 01.jpg\|350px\|thumb\|left\|Peter Brook]]		[[File:I02 G.08 01.jpg\|350px\|thumb\|left\|Peter Brook]]

	''~~I can take any empty space and call it a bare stage~~. A man ~~walks across this empty space whilst someone else is watching him~~, ~~and this~~ is ~~all that~~ is ~~needed for an act of theatre to be engaged~~.''		''Ik kan elke lege ruimte nemen en die een kaal podium noemen. Een man loopt over deze lege ruimte terwijl iemand anders naar hem kijkt, en dat is alles wat nodig is om een theateract te kunnen uitvoeren.''

	~~With this phrase the stage director~~ [[Item:Q373\|Peter Brook]] (Q373) ~~begins his book~~ [[Item:Q374\|''The Empty Space'']] (Q374), ~~synthesising~~ in ~~just two lines his idea of theatre~~. Brook ~~looks for the essential and pushes aside all non~~-~~elementary components such as gestures~~, ~~decoration or movement~~. Brook ~~was born~~ in ~~London~~ in ~~1925~~; ~~after staging many productions~~, ~~operas and~~ films, ~~he published his first book~~ in 1968. ''The Empty Space~~'' marked the artistic desire of its author to abandon conventional theatres and, therefore~~, ~~the proscenium arch~~, ~~and to begin a long period of investigation into the fundamental essence of the scenic space~~. In ~~his~~ project ~~there~~ was ~~no place for the artificial or the false~~, ~~only the~~ pure ~~essence of scenography~~, ~~which he~~ later ~~staged at the~~ Bouffes du Nord in ~~Paris~~ (Q13498).		Met deze zin begint toneelregisseur [[Item:Q373\|Peter Brook]] (Q373) zijn boek [[Item:Q374\|''The Empty Space'']] (Q374), waarin hij in slechts twee regels zijn idee over theater samenvat. Brook zoekt naar het essentiële en schuift alle niet-elementaire componenten zoals gebaren, decoratie of beweging aan de kant. Brook werd in 1925 in Londen geboren; na vele producties, opera's en films te hebben opgevoerd, publiceerde hij in 1968 zijn eerste boek. "The Empty Space" markeerde het artistieke verlangen van de auteur om conventionele theaters, en dus de prosceniumboog, te verlaten en een lange periode van onderzoek naar de fundamentele essentie van de scenische ruimte te beginnen. In zijn project was geen plaats voor het kunstmatige of het valse, alleen voor de pure essentie van de scenografie, die hij later opvoerde in de Bouffes du Nord in Parijs (Q13498).

	~~The text of ''~~The Empty Space'' is ~~structured in four parts~~: the deadly theatre, the holy theatre, the rough theatre and the immediate theatre.		De tekst van "The Empty Space" is opgebouwd uit vier delen: the deadly theatre, the holy theatre, the rough theatre and the immediate theatre.

	In ~~the first part,~~ Brook ~~analyses the~~ deadly theatre, ~~which is the theatre that not only fails to inspire or instruct~~, ~~but hardly entertains, and that can be found~~ in grand opera, in ~~tragedy~~, in ~~Brecht’s work and, above all,~~ in ~~the works of~~ Shakespeare. ~~He reflects on the actor as an~~ instrument ~~of the dramatic art and compares it with the instruments of other arts~~. ~~He also reflects on the public~~, ~~on the flexibility of current staging~~, ~~on the contradiction between literary and theatrical~~, ~~and on the density of silence~~. Deadly ~~theatre~~ is ~~a theatre that loses the public since it is not capable~~ of ~~inspiring or teaching~~, ~~nor of entertaining – it~~ is ~~an insufficient theatre for society~~.		In het eerste deel analyseert Brook het deadly theatre, de theatervorm die niet alleen niet inspireert of instrueert, maar nauwelijks vermaakt. Voornamelijk te vinden in de grand opera, in de tragedie, in het werk van Brecht en vooral in het werk van Shakespeare. Hij denkt na over de acteur als instrument van de dramatische kunst en vergelijkt deze met de instrumenten van andere kunsten. Hij denkt ook na over het publiek, over de flexibiliteit van de huidige enscenering, over de tegenstelling tussen literair en theatraal, en over de dichtheid van de stilte. Deadly theatrer is een theatervorm die het publiek verliest omdat het niet kan inspireren of onderwijzen, noch vermaken. Het is een ontoereikende theatervorm voor de samenleving.

	In ~~the second part, he enters into the~~ holy theatre ~~which he calls ‘theatre of the invisible made visible’~~; ~~that is, he reflects on the stage as a place where the invisible can appear~~, in ~~the same way that in music we recognise the abstract through the~~ concrete. ~~He considers the loss of the original rite~~ in ~~the current theatre~~, ~~except~~ in ~~certain oriental theatres~~. ~~‘The truth~~ is ~~that~~ we ~~don’t know how to celebrate~~, ~~since~~ we ~~don't know what to celebrate~~.’ (Q374, 68). ~~He recounts his experiences with the theatrical group~~ Teatro de la Crueldad, ~~which was created in order to investigate the sacred theatre~~. ~~‘We can try to capture the invisible but~~ we ~~must not lose touch with common sense~~: ~~if our language~~ is ~~too special~~, we ~~will lose part of the viewer’s faith~~.’ (Q374, 90).		In het tweede deel gaat hij in op het holy theatre dat hij "theater van het zichtbaar gemaakte onzichtbare" noemt; dat wil zeggen dat hij nadenkt over het toneel als een plaats waar het onzichtbare kan verschijnen, zoals we in de muziek het abstracte herkennen door het concrete. Hij ziet het verlies van de oorspronkelijke ritus in het huidige theater, behalve in bepaalde oosterse theaters. "De waarheid is dat we niet weten hoe we moeten vieren, omdat we niet weten wat we moeten vieren. (Q374, 68). Hij vertelt over zijn ervaringen met de theatergroep Teatro de la Crueldad, die is opgericht om het sacrale theater te onderzoeken. "We kunnen proberen het onzichtbare te vangen, maar we mogen het contact met het gezond verstand niet verliezen: als onze taal te bijzonder is, verliezen we een deel van het geloof van de toeschouwer." (Q374, 90).

	[[File:Théâtre des Bouffes du Nord 1 Patrick Tourneboeuf.jpg\|350px\|thumb\|right\|~~Interior of the~~ Bouffes du Nord ~~theatre~~, ~~just before the start of the performance of the Magic Flute~~, 2010]]		[[File:Théâtre des Bouffes du Nord 1 Patrick Tourneboeuf.jpg\|350px\|thumb\|right\|Interieur van het Bouffes du Nord theater, vlak voor het begin van de opvoering van de Toverfluit, 2010]].

	In ~~the third part~~, ~~dedicated to~~ rough theatre, Brook ~~recognises popular theatre~~, ~~the popular theatre that saves entire eras~~. ~~He reminds us that the long popular tradition~~, ~~apart from partying with harmless and happy people~~, is ~~also fierce satire and grotesque caricature~~. ~~He places this theatre in opposition to the sacred~~ theatre.		In het derde deel, gewijd aan het rough theatre, wijst Brook op het volkstheater, de vorm van theater die hele tijdperken redt. Hij herinnert ons eraan dat de lange volkstraditie, behalve feesten met ongevaarlijke en vrolijke mensen, ook felle satire en groteske karikatuur is. Hij plaatst deze theatervorm tegenover het holy theatre.

	In ~~the last~~, ~~most personal part dedicated to the~~ immediate theatre, Brook ~~expresses himself by way of an autobiographical conclusion~~. ~~The immediate~~, ~~the~~ moment in ~~which the theatre affirms itself in the present~~, is ~~when the theatre becomes real, and also disturbing~~. ~~Its immediacy characterises it~~, ~~a representation that~~ is ~~unrepeatable~~, ~~even if it needs repetition~~. ~~The theatre not as an art in itself~~, ~~but a reflection of life~~, ~~which for its representation needs the observation and formation of values~~.		In het laatste, meest persoonlijke deel, gewijd aan het immediate theatre, spreekt Brook zich uit in een autobiografische conclusie. Het onmiddellijke, het moment waarop het theater zich in het heden bevestigt, is het moment waarop het theater echt en verontrusten wordt. Die onmiddellijkheid is kenmerkend, een voorstelling die onherhaalbaar is, ook al is herhaling nodig. Het theater niet als een kunst op zich, maar als een weerspiegeling van het leven, dat voor zijn uitbeelding observatie en vorming van waarden nodig heeft om te bestaan.

	In 1969 Brook ~~and~~ producer Micheline Rozan ~~created the~~ Centre International de Recherche Théâtrale (CIRT), ~~a multinational company of actors~~, ~~set designers and directors~~. ~~The company toured widely~~ in ~~the early 1970s through Asia~~, ~~Africa and the United States, playing~~ in ~~villages, at immigrant hostels and~~ in ~~refugee camps~~, ~~sometimes for people who had never seen theatre before~~.		In 1969 richtten Brook en producer Micheline Rozan het Centre International de Recherche Théâtrale (CIRT) op, een multinationaal gezelschap van acteurs, decorontwerpers en regisseurs. Het gezelschap toerde begin jaren zeventig op grote schaal door Azië, Afrika en de Verenigde Staten. Ze speelde in dorpen, in opvanghuizen voor immigranten en in vluchtelingenkampen, soms voor mensen die nog nooit theater hadden gezien.

	In 1974, Brook ~~and~~ Micheline Rozan ~~made a home for~~ CIRT at [[Item:Q7983\|~~the abandoned theatre of~~ Bouffes-du-Nord]] (Q7983), in ~~Paris~~. ~~The theatre responds with its proportions and state of conservation to an aesthetic that the group~~ had ~~been formulating in its travels and with his research~~. ~~While the theatre has been renovated~~, ~~many original features have been retained~~, ~~not restored but with the~~ patina ~~and distress of age – a carefully curated space that~~ is ~~both theatre and scenography~~, in ~~line with Brook’s ideas about theatre~~.		In 1974 gaven Brook en Micheline Rozan het CIRT onderdak in [[Item:Q7983\|het verlaten theater van Bouffes-du-Nord]] (Q7983) in Parijs. Het theater beantwoordt met zijn proporties en staat van conservering aan een esthetiek die de groep tijdens zijn reizen en met zijn onderzoek had geformuleerd. Hoewel het theater is gerenoveerd, zijn veel originele elementen bewaard gebleven, niet gerestaureerd maar met het patina en het leed van de ouderdom. Het is een zorgvuldig samengestelde ruimte die zowel theater als scenografie is, in overeenstemming met Brooks ideeën over theater.

	~~Developments~~ in ~~theatre practice~~, ~~as in other fields~~, ~~rely on the sharing of knowledge and experience~~. Peter ~~Brook’s book, '~~'The Empty Space~~'', and his practice as a director, have ensured his ideas have been highly influential~~.		Ontwikkelingen in de theaterpraktijk zijn, net als op andere gebieden, afhankelijk van het delen van kennis en ervaring. Peter Brook's boek "The Empty Space" en zijn praktijk als regisseur hebben ervoor gezorgd dat zijn ideeën zeer invloedrijk zijn.

LouisR at 18:47, 18 February 2023

2023-02-18T18:47:40Z

← Older revision		Revision as of 18:47, 18 February 2023
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	''Peter Brook’s 1968 book, The Empty Space, describes four forms of theatre: deadly, holy, rough and immediate. These ideas have been foundational to how directors, actors, designers and others have thought about theatre in the late 20th century.''		''Peter Brook’s 1968 book, The Empty Space, describes four forms of theatre: deadly, holy, rough and immediate. These ideas have been foundational to how directors, actors, designers and others have thought about theatre in the late 20th century.''

			[[File:I02 G.08 01.jpg\|350px\|thumb\|left\|Peter Brook]]

	''I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.''		''I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.''

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	In the second part, he enters into the holy theatre which he calls ‘theatre of the invisible made visible’; that is, he reflects on the stage as a place where the invisible can appear, in the same way that in music we recognise the abstract through the concrete. He considers the loss of the original rite in the current theatre, except in certain oriental theatres. ‘The truth is that we don’t know how to celebrate, since we don't know what to celebrate.’ (Q374, 68). He recounts his experiences with the theatrical group Teatro de la Crueldad, which was created in order to investigate the sacred theatre. ‘We can try to capture the invisible but we must not lose touch with common sense: if our language is too special, we will lose part of the viewer’s faith.’ (Q374, 90).		In the second part, he enters into the holy theatre which he calls ‘theatre of the invisible made visible’; that is, he reflects on the stage as a place where the invisible can appear, in the same way that in music we recognise the abstract through the concrete. He considers the loss of the original rite in the current theatre, except in certain oriental theatres. ‘The truth is that we don’t know how to celebrate, since we don't know what to celebrate.’ (Q374, 68). He recounts his experiences with the theatrical group Teatro de la Crueldad, which was created in order to investigate the sacred theatre. ‘We can try to capture the invisible but we must not lose touch with common sense: if our language is too special, we will lose part of the viewer’s faith.’ (Q374, 90).

			[[File:Théâtre des Bouffes du Nord 1 Patrick Tourneboeuf.jpg\|350px\|thumb\|right\|Interior of the Bouffes du Nord theatre, just before the start of the performance of the Magic Flute, 2010]]

	In the third part, dedicated to rough theatre, Brook recognises popular theatre, the popular theatre that saves entire eras. He reminds us that the long popular tradition, apart from partying with harmless and happy people, is also fierce satire and grotesque caricature. He places this theatre in opposition to the sacred theatre.		In the third part, dedicated to rough theatre, Brook recognises popular theatre, the popular theatre that saves entire eras. He reminds us that the long popular tradition, apart from partying with harmless and happy people, is also fierce satire and grotesque caricature. He places this theatre in opposition to the sacred theatre.

LouisR: Created page with "''Peter Brook’s 1968 book, The Empty Space, describes four forms of theatre: deadly, holy, rough and immediate. These ideas have been foundational to how directors, actors,..."

2023-02-17T20:35:40Z

Created page with "''Peter Brook’s 1968 book, The Empty Space, describes four forms of theatre: deadly, holy, rough and immediate. These ideas have been foundational to how directors, actors,..."

New page

''Peter Brook’s 1968 book, The Empty Space, describes four forms of theatre: deadly, holy, rough and immediate. These ideas have been foundational to how directors, actors, designers and others have thought about theatre in the late 20th century.''

''I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.''

With this phrase the stage director [[Item:Q373|Peter Brook]] (Q373) begins his book [[Item:Q374|''The Empty Space'']] (Q374), synthesising in just two lines his idea of theatre. Brook looks for the essential and pushes aside all non-elementary components such as gestures, decoration or movement. Brook was born in London in 1925; after staging many productions, operas and films, he published his first book in 1968. ''The Empty Space'' marked the artistic desire of its author to abandon conventional theatres and, therefore, the proscenium arch, and to begin a long period of investigation into the fundamental essence of the scenic space. In his project there was no place for the artificial or the false, only the pure essence of scenography, which he later staged at the Bouffes du Nord in Paris (Q13498).

The text of ''The Empty Space'' is structured in four parts: the deadly theatre, the holy theatre, the rough theatre and the immediate theatre.

In the first part, Brook analyses the deadly theatre, which is the theatre that not only fails to inspire or instruct, but hardly entertains, and that can be found in grand opera, in tragedy, in Brecht’s work and, above all, in the works of Shakespeare. He reflects on the actor as an instrument of the dramatic art and compares it with the instruments of other arts. He also reflects on the public, on the flexibility of current staging, on the contradiction between literary and theatrical, and on the density of silence. Deadly theatre is a theatre that loses the public since it is not capable of inspiring or teaching, nor of entertaining – it is an insufficient theatre for society.

In the second part, he enters into the holy theatre which he calls ‘theatre of the invisible made visible’; that is, he reflects on the stage as a place where the invisible can appear, in the same way that in music we recognise the abstract through the concrete. He considers the loss of the original rite in the current theatre, except in certain oriental theatres. ‘The truth is that we don’t know how to celebrate, since we don't know what to celebrate.’ (Q374, 68). He recounts his experiences with the theatrical group Teatro de la Crueldad, which was created in order to investigate the sacred theatre. ‘We can try to capture the invisible but we must not lose touch with common sense: if our language is too special, we will lose part of the viewer’s faith.’ (Q374, 90).

In the third part, dedicated to rough theatre, Brook recognises popular theatre, the popular theatre that saves entire eras. He reminds us that the long popular tradition, apart from partying with harmless and happy people, is also fierce satire and grotesque caricature. He places this theatre in opposition to the sacred theatre.

In the last, most personal part dedicated to the immediate theatre, Brook expresses himself by way of an autobiographical conclusion. The immediate, the moment in which the theatre affirms itself in the present, is when the theatre becomes real, and also disturbing. Its immediacy characterises it, a representation that is unrepeatable, even if it needs repetition. The theatre not as an art in itself, but a reflection of life, which for its representation needs the observation and formation of values.

In 1969 Brook and producer Micheline Rozan created the Centre International de Recherche Théâtrale (CIRT), a multinational company of actors, set designers and directors. The company toured widely in the early 1970s through Asia, Africa and the United States, playing in villages, at immigrant hostels and in refugee camps, sometimes for people who had never seen theatre before.

In 1974, Brook and Micheline Rozan made a home for CIRT at [[Item:Q7983|the abandoned theatre of Bouffes-du-Nord]] (Q7983), in Paris. The theatre responds with its proportions and state of conservation to an aesthetic that the group had been formulating in its travels and with his research. While the theatre has been renovated, many original features have been retained, not restored but with the patina and distress of age – a carefully curated space that is both theatre and scenography, in line with Brook’s ideas about theatre.

Developments in theatre practice, as in other fields, rely on the sharing of knowledge and experience. Peter Brook’s book, ''The Empty Space'', and his practice as a director, have ensured his ideas have been highly influential.