Relevant bibliographies by topics / Brook, Peter

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Brook, Peter'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Brook, Peter"

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Banu, Georges, and Claire Carre. "Peter Brook." Peripeti 1, no. 2 (December 2, 2021): 45–50. http://dx.doi.org/10.7146/peri.v1i2.107490.

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Peter Brook Why a Theatre Laboratory? It includes the programme of a three days’ international symposium from October 4th through 6th 2004. This is the first initiative taken by the Centre for Theatre Laboratory Studies (CTLS), a newly inaugurated centre under Aarhus University in cooperation with Nordisk Teaterlaboratorium. Peripeti include articles on Stanislavski, Meyerhold, Copeau, Decroux, Grotowski, Peter Brook, Théâtre du Soleil, and Odin Teatret and the theatre laboratory praxis of these masters and inventors, including, of course, reflections on their function and effect. In the last article, Eugenio Barba reflects on the creative process of Odin Teatret over the last 40 years. In addition, we also include the curriculum vitae on those participating in the symposium. The occasion of the symposium is to celebrate the 40th anniversary in October 2004 of Nordisk Teaterlaboratorium/Odin Teatret. Congratulations.
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Schechner, Richard, Mathilde La Bardonnie, Joel Jouanneau, Georges Banu, and Anna Husemoller. "Talking with Peter Brook." Drama Review: TDR 30, no. 1 (1986): 54. http://dx.doi.org/10.2307/1145712.

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Dening, Tom, and Eugene Paykel. "Charles Peter Benyon Brook." Psychiatric Bulletin 28, no. 7 (July 2004): 268. http://dx.doi.org/10.1192/pb.28.7.268.

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Zohar, Ouriel. "Les acteurs de Peter Brook." Coulisses, no. 12 (May 1, 1995): 40–50. http://dx.doi.org/10.4000/coulisses.3818.

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Meduri, Avanthi, Phillip Zarrilli, and Deborah Neff. "More Aftermath after Peter Brook." TDR (1988-) 32, no. 2 (1988): 14. http://dx.doi.org/10.2307/1145846.

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Nicolescu, Basarab, and David Williams. "Peter Brook and traditional thought." Contemporary Theatre Review 7, no. 1 (October 1997): 11–23. http://dx.doi.org/10.1080/10486809708568441.

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Brook, Peter. "Any Event Stems from Combustion: Actors, Audiences, and Theatrical Energy." New Theatre Quarterly 8, no. 30 (May 1992): 107–12. http://dx.doi.org/10.1017/s0266464x00006552.

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In the first issue of New Theatre Quarterly (February 1985), David Williams presented a conspective overview of the work of Peter Brook at the International Centre for Theatre Research in Paris. More recently, in NTQ26 (May 1991), Paul B. Cohen analyzed Brook's evolving views on the interaction between performers and audience – the worlds of the imagination and the everyday. Here, Peter Brook himself, in conversation with Jean Kalman, discusses with a characteristically eclectic range of references and comparisons the idea of the theatrical ‘event’ and how it is generated, touching in passing on subjects as diverse as the construction and deconstruction of linear narrative and the significance and nature of improvisation. The interviewer, Jean Kalman, is a lighting designer who has collaborated with Peter Brook on many of his productions in recent years, including The Cherry Orchard, The Mahabharata, Woza Albert! and The Tempest.
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Okamoto, Eduardo, and Vanessa Cristina Petroncari. "Fricções Culturais e Criações Cênicas: Peter Brook." Pitágoras 500 7, no. 1 (August 24, 2017): 88. http://dx.doi.org/10.20396/pita.v7i1.8650803.

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O presente trabalho propõe um levantamento de quatro conceitos referentes aos estudos interculturais no teatro nos discursos do diretor inglês Peter Brook (a saber: “multiculturalismo”, “interculturalidade”, “transculturalidade” e intraculturalidade).
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Watermeier, Daniel J., and Edward Trostle Jones. "Following Directions: A Study of Peter Brook." Theatre Journal 38, no. 2 (May 1986): 243. http://dx.doi.org/10.2307/3208139.

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Pinkowicz, Christine A., and David Williams. "Peter Brook and "The Mahabharata": Critical Perspectives." Theatre Journal 46, no. 2 (May 1994): 297. http://dx.doi.org/10.2307/3208475.

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Dissertations / Theses on the topic "Brook, Peter"

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Ruffini, Rosaria. "Les Afriques de Peter Brook." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030109.

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L’objectif de la thèse est d’analyser le rapport entre Peter Brook et le continent africain. La thèse retrace les origines de son attrait pour l’Afrique, les principes qui motivent cette affinité et les étapes saillantes : les voyages, les mises en scène et la longue collaboration avec de nombreux acteurs africains. L’étude explore l’époque de la création du Centre International de Recherche Théâtrale [CIRT] à Paris ; l’arrivé au CIRT du premier acteur africain Malick Bowens ; l’aventure du voyage en Afrique de 1972 ; la rencontre avec l’ethnologue et écrivain malien Amadou Hampâté Bâ ; l’arrivé aux Bouffes du Nord de l’acteur-conteur Sotigui Kouyaté qui deviendra le protagoniste de nombreux spectacle ; le rapport avec les dramaturges sud-africains Athol Fugard et Barney Simon. La dissertation consacre un chapitre à chaque spectacle « africain » : Les Iks [1975], L’Os [] Woza Albert ! [1989], Le Costume [1999], Tierno Bokar [2004], Sizwe Banzi est mort [2006], et Eleven and Twelve [2009] portrait de l’Afrique du début du siècle. La voie africaine aide à éclaircir et à interpréter l’oeuvre entière du metteur en scène, car elle concrétise sur scène les théories esquissées dans l’Espace Vide
The purpose of this study is to analyze the dynamics of the relationship between Peter Brook and the African continent. The thesis traces the origins of this attraction, his evolution and the striking stages: the journeys, the plays and the long collaboration with many Africans actors. The study investigates the creation of the Centre International de Recherche Théâtrale [CIRT] in Paris; the arrival at the CIRT of the first African actor Malick Bowens; the adventure of the journey in Africa in 1972; the meeting with the Malian ethnologist and writer Amadou Hampâté Bâ; the arrival at the Bouffes du Nord of the actor-storyteller Sotigui Kouyaté that will become the main actor of many plays; the relationships with the South Africans playwrights Athol Fugard and Barney Simon. The dissertation dedicates a chapter to every "African" play: Les Iks [1975], L’Os [1979] Woza Albert ! [1989], Le Costume [1999], Tierno Bokar [2004], Sizwe Banzi est mort [2006], et Eleven and Twelve [2009], portrait of Africa of the beginning of the century. The “African way” helps to elucidate and to interpret the whole work of the director : it concretize on stage the premonitory theories written in The Empty Space
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King, Helen Cole. "L'espace sonore dans l'oeuvre de Peter Brook /." Lille : Atelier national de reproduction des thèses, 2004. http://catalogue.bnf.fr/ark:/12148/cb41040082m.

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Cole-King, Helen. "L'espace sonore dans l'oeuvre de Peter Brook." Paris 3, 2004. http://www.theses.fr/2004PA030097.

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Cette étude propose un examen approfondi du rôle joué par le son dans l’ensemble de la démarche artistique du metteur en scène. Bien qu’il n’occupe qu’une place effective d’accompagnement dans la plupart des spectacles et projets brookiens, le son participe de manière conséquente à la genèse et la construction de ceux-ci. La voix de l’acteur constitue un moyen privilégié d’accès aux sources de l’émotion et à la signification profonde d’un texte de théâtre. L’accompagnement musical seconde l’activité théâtrale en tant que générateur et réflecteur des énergies sur scène, exprimant la dimension indicible et invisible de la fable représentée. L’étude de figures sonores telles que la voix source, l’écho et la vibration fondamentale attestent de la recherche minutieuse d’un accord, voire d’un équilibre vibratoire, recherche qui est au cœur de la créativité et du projet brookiens
This study sets out to examine in depth the part played by sound in the stage director’s global artistic approach. Although its actual role in preparation work and in performance is only to provide an accompaniment, sound contributes in no small way to the birth and development of the latter. Voice is the chosen means by which the actor is able to uncover the springs of emotion and the deepest meanings of a dramatic text. The musical accompaniment supports the performance as a generator and a reflector of the energies on stage, expressing whatever is ineffable and invisible in the story being performed. The study of such figures of sound as the voice of the origins, the echo and the fundamental vibration testify to a painstaking search for a harmony, or a vibratory balance, search which lies at the heart of Peter Brook’s work and creativity
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Mouat, William Manning D. "The tragedy of Carmen : Georges Bizet and Peter Brook /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11406.

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Thesis (D. Mus. Arts)--University of Washington, 1996.
Vita. Includes the program from the production of Carmen at the University of Puget Sound on August 12 and 13, 1995, in pocket. Includes bibliographical references (leaves [109]-111).
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Mitter, Shomit. "The great imitator : Peter Brook and the director in rehearsal." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259462.

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Arora, Harbeen. "L'acteur et ses doubles selon Peter Brook et Ariane Mnouchkine." Paris 3, 2005. http://www.theses.fr/2005PA030081.

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Ariane Mnouchkine et Peter Brook semblent être aujourd'hui deux figures incontournables du théâtre contemporain. Mais au-delà de leur renommée individuelle, c'est l'écho du travail de l'acteur qui va retenir ici notre attention. L'acteur en formation, à travers cette étude comparative, va osciller entre trois dimensions : interprète, créateur et être. En observant les nuances de cette triple dimension, une nouvelle orientation du théâtre moderne se joue chez nos deux metteurs en scène autour de quatre voies communes : le dialogue avec les cultures étrangères, la valorisation de la troupe, la quête de l'universel et l'influence de l'Orient. Fort de ces quatre initiations communes, l'acteur va voir son jeu notablement muer. Il va donc s'agir de capter ces moments de nouvelles énergies qui ne cessent de naître aux confluents des nouvelles vagues venant des deux côtés de la Manche, et qui deviennent, bien que de façon éphémère, des moments de grâce pour cet acteur en apprentissage. Lorsqu'on se penche sur ces doubles émergeants de l'acteur, " féminin " pour Mnouchkine, " androgyne " pour Brook, on est irrémédiablement entraîné au-delà du simple patrimoine occidental vers des horizons plus vastes, universels, aux confins de l'Ailleurs. Pour mettre en évidence une éthique analogue du travail du comédien chez les deux créateurs, une mise en parallèle singulière semble devoir s'établir entre, d'un côté la conception théâtrale de Brook et la pensée indienne, et de l'autre la pratique de Mnouchkine avec l'éthique japonaise. Cette double adéquation : Mnouchkine/Brook et Brook/L'Inde– Mnouchkine/ Le Japon, au-delà d'un cheminement parallèle, présente avant tout une continuité ascensionnelle où ici le discours de Mnouchkine ne serait que cet aspect plus pédagogique de celui de Brook, tout en lui servant d'échelon psychique indispensable. Mais le mouvement, loin de s'arrêter, n'est que transhumance infinie, puisque tous deux dans leurs démarches tendent à imposer cette élévation de " trans ", cette recherche ininterrompue du théâtre et de l'acteur lui-même, tout comme Artaud l'avait fait au siècle précédent, lorsqu'il impulsait l'enivrement de la " transe " comme paradigme théâtral
In the context of European contemporary theatre, Ariane Mnouchkine and Peter Brook are indeed names to reckon with. Yet, this study goes beyond the individual recognition of each. Here, it is rather the echo of their interconnected work on the actor that is of interest. By comparing the approaches of Brook and Mnouchkine, this study will reveal that the actor-under-training today is oscillating between three dimensions: Translator, Creator and Being. As the nuances of this triple dimension are observed, especially in the context of four common axes that characterize the work of these two directors – the dialogue with foreign cultures, the valorization of the troupe, the quest of the universal and the influence of the Orient – a new orientation in the work of the modern actor seems to come into play. Under the sway of the above-mentioned forces, the actor's performance transforms. Evidently, while traversing the poetico-theatrical paradigm of our two practitioners, the actor-student experiences rare moments of renewed energy, otherwise called moments of grace. This study aims to capture the genesis of this creative state. The doubles of the actor that thus emerge – " femininity " for Mnouchkine and " androgyny " for Brook – take us irremediably beyond the simple heritage of the Occident, and toward larger (and universal) horizons that reach out to the Other, the Distant. To demonstrate an analogous discipline of actor-training in the work of these two theatre directors, a rapprochement has been suggested between the theatrical conception of Brook and the Indian/Hindu thought, on the one hand, and between the theatrical practice of Mnouchkine and the Japanese/Buddhist spirit, on the other. Apart from representing a parallel trajectory, this double concordance, Mnouchkine/Brook and Brook/India – Mnouchkine/ Japan, seeks to present above all a relationship of continuity in contiguity: wherein the Mnouchkien praxis reveals itself to be the twinning pedagogic aspect of Brook's discourse, nourishing it in indispensable ways. Finally, just as Artaud had envisaged the elevation of the transe as an integral part of the new theatrical paradigm, similarly, the practices of Brook and Mnouchkine have provided to the modern actor the elevation of trans: the uninterrupted research of the theatre and of oneself in infinite transhumance
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Matuella, Sandra <1970&gt. "L’occhio del cocchiere. Lo sguardo di Peter Brook nella regia d’opera." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6049.

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Questo lavoro si propone di indagare il pensiero di Peter Brook sul teatro d’opera, dal momento che la sua attività registica nel mondo della lirica, benché marginale rispetto al teatro e al cinema, costituisce un’esperienza fondamentale per la sua visione umana e artistica. A partire dal cospicuo materiale autobiografico del regista inglese, la mia tesi è volta a dimostrare la duplicità del suo pensiero, diviso tra il prima e il dopo di quel discrimine costituito dagli insegnamenti del mistico armeno Georges Ivanovič Gurdjieff, appresi di Brook tramite diverse vie, a partire dal 1951, subito dopo la conclusione del suo travagliato impegno alla Royal Opera House di Londra, e culminati nel 1979 con la realizzazione del film Incontri con uomini straordinari, tratto dall’omonima autobiografia di Gurdjieff.
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Santandrea, Maya. "NEW HISTORICIST READING OF MARAT/SADE." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1149790393.

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Johnson, Jeremy. "The Shock of Presence Peter Brook & Jerzy Grotowski – The Reinvention of Australian Theatre." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18140.

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Peter Brook and Jerzy Grotowski were seminal influences upon the Australian performance revolution in the 1970s and into the 1980s through the methodologies and concepts of theatre practice outlined in their respective texts: The Empty Space and Towards a Poor Theatre. These manifestos served as a blue print for a theatrical groundswell emerging from Melbourne in the early 1970s in Carlton at both La Mama and Australian Performance Group (APG) at the Pram Factory, and at the same time in Sydney with the Nimrod theatre and Rex Cramphorn’s Performance Syndicate. An examination reveals these Directors shared spiritual and traditional sources from Eastern European backgrounds (Brook being of Russian Jewish heritage and Grotowski Eastern Orthodox Catholic), the approach of Constantin Stanislavski (particularly for Grotowski), and their mutual reverence for the teachings of Armenian mystic, George Ivanovitch Gurdjieff. An analysis of key moments and how Brook and Grotowski were central figures in the initiation of an Australian performance revolution of the 1970s; and the performance renaissance which emerged from women’s theatre as a reaction to the male-centric ‘ocker’ sensibilities at the time during a movement in which Brook and Grotowski figured prominently. How Brook and Grotowski’s methodological ideas uncovering meaning in tradition and deeper levels of performance enquiry were sidelined, and eventually marginalized to all but a few fringe groups as a result of mainstream performance concerns with aesthetic considerations, and the globalization of economic rationalism is observed.
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Castro, Ana Luiza de Magalhães. "A conferência dos pássaros = reflexões sobre o ator narrador no teatro de Peter Brook = The conference of the birds: reflections on the actor narrator in the theatre of Peter Brook." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284555.

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Orientador: Suzi Frankl Sperber
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-22T15:30:43Z (GMT). No. of bitstreams: 1 Castro_AnaLuizadeMagalhaes_M.pdf: 7262821 bytes, checksum: 4bd587371f17e97a500d09d7d4d18cd2 (MD5) Previous issue date: 2012
Resumo: Este estudo desenvolve uma reflexão sobre a presença da narrativa no teatro de Peter Brook. Compreendendo-a como resultante de sua pesquisa em direção à "qualidade" e à "vida" da cena. Da noção de narrativa, de cunho tradicional, deriva o conceito de experiência que dialoga com as premissas propostas por Brook para o seu teatro. O espetáculo "A Conferência dos Pássaros" foi escolhido para este estudo por apresentar plenamente a atuação narrativa no percurso do teatro de Peter Brook, conjugando, também, o saber desenvolvido pelo grupo, no primeiro ciclo de trabalho que se iniciou com a criação do Centro Internacional de Pesquisa Teatral - CIRT, em 1970
Abstract: This work develops a reflection about the presence of narrative in the theater of Peter Brook. Understanding this presence as a result of his search toward the "quality" and "life" of the scene. From the notion of traditional narrative derives the concept of experience, that dialogue with the premises proposed by Brook for his theater. The play "The Conference of the Birds" was chosen for this study because it presents the fully narrative acting in the Peter Brook's theatre process. It combines the knowledge developed by the group in the first cycle of their work that began with the creation of CIRT - International Centre for Theatre Research in 1970
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Teatro, Dança e Performance
Mestra em Artes da Cena
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Books on the topic "Brook, Peter"

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Ortolani, Olivier. Peter Brook. Frankfurt: Fischer Taschenbuch, 1988.

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Hunt, Albert. Peter Brook. Cambridge: Cambridge University Press, 1995.

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Peter Brook: A biography. New York: St. Martin's Press, 2005.

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1965-, Wemaere Séverine, ed. Peter Brook et le Vietnam: Peter Brook and the Vietnam : Tell me lies. Paris]: Capricci, 2012.

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Williams, David. Peter Brook and the Mahabharata. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003320418.

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Richard, Helfer, Loney Glenn Meredith 1928-, and Brook Peter 1925-, eds. Peter Brook: Oxford to Orghast. Amsterdam, Netherlands: Harwood Academic Publishers, 1998.

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1925-, Brook Peter, and Williams, David, 1957 June 4-, eds. Peter Brook: A theatrical casebook. London: Methuen, 1988.

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La lezione shakespeariana di Peter Brook. Roma: Bulzoni, 2002.

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Peter Brook: The Pennine landscape painter. Halifax: Ryburn Pub., 1992.

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Peter, Brook. Between two silences: Talking with Peter Brook. Dallas, Tex: Southern Methodist University Press, 1999.

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Book chapters on the topic "Brook, Peter"

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Bradby, David, and David Williams. "Peter Brook." In Directors’ Theatre, 145–85. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19478-0_6.

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Pavis, Patrice, and Katharina Knüppel. "Peter Brook." In Hamlet-Handbuch, 208–11. Stuttgart: J.B. Metzler, 2014. http://dx.doi.org/10.1007/978-3-476-00516-8_36.

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Dasgupta, Gautam. "Peter Brook's 'Orientalism'." In Peter Brook and the Mahabharata, 262–67. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003320418-22.

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Carrière, Jean-Claude. "What is Not in the Mahabharata is Nowhere." In Peter Brook and the Mahabharata, 59–64. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003320418-8.

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Banu, Georges. "Brook's Six Days." In Peter Brook and the Mahabharata, 268–79. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003320418-23.

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Williams, David. "Theatre of Innocence and of Experience." In Peter Brook and the Mahabharata, 3–28. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003320418-2.

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Brook, Peter. "The Presence of India." In Peter Brook and the Mahabharata, 41–44. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003320418-5.

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Mishra, Vijay. "The Great Indian Epic and Peter Brook." In Peter Brook and the Mahabharata, 195–205. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003320418-18.

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Bharucha, Rustom. "A View from India." In Peter Brook and the Mahabharata, 228–52. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003320418-20.

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Dehoux, Vincent. "Musical Bricolage." In Peter Brook and the Mahabharata, 80–82. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003320418-12.

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Conference papers on the topic "Brook, Peter"

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Okamoto, Eduardo, and Vanessa Cristina Petrongari. "Cultural Exchanges and Scenic Creation in the speeches of Ariane Mnouchkine, Peter Brook and Rustom Bharucha." In XXIII Congresso de Iniciação Científica da Unicamp. Campinas - SP, Brazil: Galoá, 2015. http://dx.doi.org/10.19146/pibic-2015-38267.

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