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Stage | guardian.co.uk: His 1970 RSC production of Shakespeare's play featured circus trapezes, stilts and plate-spinning – and changed theatre history for good. In an extract from his new book, Peter Brook explains how this most seductive of Dreams came alive
I think this is a great story on how artists stand out from others. everyone my have an idea but it the people who are willing to expand on, play with, and create the idea as much as possible that are artists. It was not until the write understood that his original idea was not going to be a success that he began to work and change the idea to be so. When we presented our designs to the faulty for the final design project many of our ideas were shot down in a sense. we realized how uncreative they were and a change was need. Many groups changed their idea completely some only a little but we still realized that we needed a change. We as artist need to be able react when something goes wrong. failure to do so will only produce lesser art.
I remember reading "The Empty Space" in high school as I began to try and figure out what this theatre thing was all about. It didn't help much. After reading it I was twice as full of questions and half-understandings as before. But it was that difficulty that drove me on, that uncertainty that inspired me to look more deeply into what I was just beginning to know. The book offered no easy answers, and that's what I liked about it. Reading Mr. Brook discuss his experience with "Midsummer" and the process of filming it reminds me that this career is a lifelong exploration. "One train can conceal another," and "the formless hunch which [is] our guide" may not lead us on a straight or narrow path. And thank God for that.
I find his comments on how he invited in children into his rehearsal room as a way of testing his work in front of a pitiless audience to be a practice I would love to take up myself. In addition the line about behind every bad idea a good idea could be hiding, to be very enlightening. We look at our failures as failures. But often times they are vitally necessary in order to succeed. Not just in a "everyone has to have them way" or even a "its good to fail, it'll make you stronger", but that in the failure, in the bad idea, a good idea could still be hiding. It is comforting to hear this seminal production didn't arise simply from divine intervention but from a series of trial and error, collaboration, and trusting of your own basic instincts.
3 comments:
I think this is a great story on how artists stand out from others. everyone my have an idea but it the people who are willing to expand on, play with, and create the idea as much as possible that are artists. It was not until the write understood that his original idea was not going to be a success that he began to work and change the idea to be so. When we presented our designs to the faulty for the final design project many of our ideas were shot down in a sense. we realized how uncreative they were and a change was need. Many groups changed their idea completely some only a little but we still realized that we needed a change. We as artist need to be able react when something goes wrong. failure to do so will only produce lesser art.
I remember reading "The Empty Space" in high school as I began to try and figure out what this theatre thing was all about. It didn't help much. After reading it I was twice as full of questions and half-understandings as before. But it was that difficulty that drove me on, that uncertainty that inspired me to look more deeply into what I was just beginning to know. The book offered no easy answers, and that's what I liked about it. Reading Mr. Brook discuss his experience with "Midsummer" and the process of filming it reminds me that this career is a lifelong exploration. "One train can conceal another," and "the formless hunch which [is] our guide" may not lead us on a straight or narrow path. And thank God for that.
I find his comments on how he invited in children into his rehearsal room as a way of testing his work in front of a pitiless audience to be a practice I would love to take up myself. In addition the line about behind every bad idea a good idea could be hiding, to be very enlightening. We look at our failures as failures. But often times they are vitally necessary in order to succeed. Not just in a "everyone has to have them way" or even a "its good to fail, it'll make you stronger", but that in the failure, in the bad idea, a good idea could still be hiding. It is comforting to hear this seminal production didn't arise simply from divine intervention but from a series of trial and error, collaboration, and trusting of your own basic instincts.
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