The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate

The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate
by Peter Brook

The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate
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Book Summary Information

Author: Peter Brook
Edition: Paperback
Audio: English (Published)
Format: Bargain Price
Published: 1995-12-01
ISBN: N/A
Number of pages: 141
Publisher: Touchstone

Book Reviews of The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate

Book Review: An innovator's ideas about Theatre
Summary: 4 Stars

I am not very knowledgeable about Theatre and certainly not about Theory of Theatre. I found this book quite abstract and difficult to understand. Its opening sentences sets the tone for the whole work.
"I can take any empty space and call it a bare stage. An actor moves across this space while someone is watching and a piece of theatre is engaged."
This would seem to detach Theatre from local trappings and customs.
The book consists in an effort to define four kinds of Theatre, the Deadly or Conventional commercial theatre: the Holy Theatre based on sacred repetition , the Rough Theatre that of people in the steet, and the Immediate Theatre, the flowing transformative Theatre which Brook himself is trying to do.
As the author is considered one of the most revolutionary and important of modern Theatre directors I believe the book might be of value to those actually involved in 'doing Theatre' more than it is to the general reader.

Summary of The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate

Peter Brook's career, beginning in the 1940s with radical productions of Shakespeare with a modern experimental sensibility and continuing to his recent work in the worlds of opera and epic theater, makes him perhaps the most influential director of the 20th century. Cofounder of the Royal Shakespeare Company and director of the International Center for Theater Research in Paris, perhaps Brook's greatest legacy will be The Empty Space. His 1968 book divides the theatrical landscape, as Brook saw it, into four different types: the Deadly Theater (the conventional theater, formulaic and unsatisfying), the Holy Theater (which seeks to rediscover ritual and drama's spiritual dimension, best expressed by the writings of Artaud and the work of director Jerzy Grotowski), the Rough Theater (a theater of the people, against pretension and full of noise and action, best typified by the Elizabethan theater), and the Immediate Theater, which Brook identifies his own career with, an attempt to discover a fluid and ever-changing style that emphasizes the joy of the theatrical experience. What differentiates Brook's writing from so many other theatrical gurus is its extraordinary clarity. His gentle illumination of the four types of theater is conversational, even chatty, and though passionately felt, it's entirely lacking in the sort of didactic bombast that flaws many similar texts. --John Longenbaugh
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