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Journal articles on the topic 'Brook, Peter'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Hiltebeitel, Alf. "Transmitting "Mahabharatas": Another Look at Peter Brook." TDR (1988-) 36, no. 3 (1992): 131. http://dx.doi.org/10.2307/1146239.

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12

Ganelin, Charles. "Peter Brook: Performance Theory and the Comedia." Bulletin of the Comediantes 43, no. 1 (1991): 101–8. http://dx.doi.org/10.1353/boc.1991.0000.

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13

Schechter, Joel. "PETER Brook, INDIANS AND MELONS: AN INTRODUCTION." Theater 19, no. 2 (1988): 4. http://dx.doi.org/10.1215/01610775-19-2-4.

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14

QUILLET, FRANÇOISE. "L’Afrique dans la dramaturgie de Peter Brook." Matatu 20, no. 1 (April 26, 1998): 274–86. http://dx.doi.org/10.1163/18757421-90000294.

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15

Champagne, Lenora. "Peter Brook and a Handful of Hamlets." PAJ: A Journal of Performance and Art 28, no. 1 (January 2006): 111–15. http://dx.doi.org/10.1162/152028106775329606.

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16

Ruffini, Rosaria. "Les Afriques du théâtre de Peter Brook." Africultures 92-93, no. 2 (2013): 284. http://dx.doi.org/10.3917/afcul.092.0284.

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17

Frasca, Richard A., and David Williams. "Peter Brook and the Mahabharata: Critical Perspectives." Asian Theatre Journal 11, no. 1 (1994): 152. http://dx.doi.org/10.2307/1124395.

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18

Elias, Larissa. "Brook avec Grotowski: testemunho da vida e da arte de um certo polonês." Revista Brasileira de Estudos da Presença 3, no. 1 (April 2013): 353–59. http://dx.doi.org/10.1590/2237-266035289.

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RESUMO Avec Grotowski é uma coletânea de artigos, entrevistas e relatos de memória de Peter Brook a respeito do encenador polonês Jerzy Grotowski, que dá conta desde os primeiros encontros entre os dois artistas, em meados dos anos 1960, até reflexões de Brook posteriores à morte de Grotowski, em 1999. Nos textos, evidencia-se o aspecto testemunhal, de alguém - Brook -, que acompanhou de perto o percurso de um artista - Grotowski -, que se encarregou de protegê-lo e de difundir sua obra. Trafegando entre a reverência e a elucidação da obra, Brook sinaliza, ao longo de seus testemunhos, para uma possível compreensão da peculiar trajetória de Jerzy Grotowski.

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19

Brook, Peter, Laurent Feneyrou, and John Sidgwick. "A Conversation: Peter Brook on Mozart's Don Giovanni." Grand Street, no. 66 (1998): 17. http://dx.doi.org/10.2307/25008380.

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20

Zarrilli, Phillip. "The Aftermath: When Peter Brook Came to India." Drama Review: TDR 30, no. 1 (1986): 92. http://dx.doi.org/10.2307/1145715.

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21

Cohen, Paul B. "Peter Brook and the ‘Two Worlds’ of Theatre." New Theatre Quarterly 7, no. 26 (May 1991): 147–59. http://dx.doi.org/10.1017/s0266464x0000542x.

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The ‘two worlds’ of Peter Brook's theatre are its audience and its actors. According to Brook, the actors bring their ‘world of the imagination’ to meet with the audience's ‘world of the everyday’: but instead of the temporary suspension of belief in the ‘everyday world’ which a western audience has traditionally forced upon itself, Brook conceives the true theatrical experience as an interaction between the two modes of reality – those of the ‘imagination’ and the mundane. In the following article, Paul Cohen assesses the importance of this basic philosophy to Brook's productions since 1968, paying particular attention to the tour of Africa with The Conference of the Birds and the recent epic production of The Mahabharata, attempting to show that Brook's theory still directly informs the methodology and the performance orientation of his productions. Paul Cohen originally presented this paper as an MA dissertation for Vanderbilt University, and is currently on the Professional Writing Program of the University of Southern California in Los Angeles.

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22

Giacobbe Borelli, Maia. "Battlefield di Peter Brook e Marie-Hélène Estienne." Mimesis Journal, no. 5, 1 (July 1, 2016): 114–18. http://dx.doi.org/10.4000/mimesis.1128.

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23

Harpin, Anna. "Marginal experiments: Peter Brook and Stepping Out Theatre Company." Research in Drama Education: The Journal of Applied Theatre and Performance 15, no. 1 (February 2010): 39–58. http://dx.doi.org/10.1080/13569780903481003.

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24

Powrie, Phil. "La Tragedie de Carmen (Peter Brook, 1983) and embodiment." Studies in European Cinema 1, no. 3 (November 2004): 141–52. http://dx.doi.org/10.1386/seci.1.3.141/0.

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25

Braatz, João Gomes. ""O Mahabharata", de Peter Brook - Reflexões sobre intermidialidade e "orientalismo" em uma perspectiva pós-colonial." NEARCO - Revista Eletrônica de Antiguidade e Medievo 12, no. 2 (February 12, 2021): 156–69. http://dx.doi.org/10.12957/nearco.2020.53297.

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A proposta deste artigo é analisar as adaptações teatrais e fílmicas feitas do poema indiano Mahabharata dirigidas por Peter Brook, considerando as discussões e críticas feitas às produções, principalmente por autores indianos. O Mahabharata é um texto épico indiano, considerado como uma das maiores produções da história da humanidade em termos de volume, com cerca de 90.000 versos duplos. A linguística sugere que o sânscrito utilizado na obra é de cerca do final do primeiro milênio AEC, pela tradição oral, enquanto a escrita data aproximadamente do século III. Dentre as diversas divisões de textos sagrados, o Mahabharata é entendido como um Itahasa, “aquilo que de fato ocorreu” (iti, “dessa maneira”; ha “de fato” e asa “ocorreu”). Esta obra, então, foi adaptada para o teatro em 1985 e para o cinema em 1989, com a direção de Peter Brook e roteiro de Jean-Claude Carrière. Sendo Brook um inglês, as adaptações do poema suscitaram debates e críticas de autores indianos a respeito da questão colonial envolvida e de uma visão “orientalista”, segundo Said (1998). Assim, além de realizar uma análise desta obra considerando a Intermidialidade entre o épico e o filme produzido, pretende-se contribuir para este debate dialogando com as produções e discussões que abordaram o tema.

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26

Jones, Stacy Holman. "The Empty Space and Creative-Relational Inquiry." Departures in Critical Qualitative Research 9, no. 2 (2020): 114–19. http://dx.doi.org/10.1525/dcqr.2020.9.2.114.

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This essay sketches the possibilities for creative-relational inquiry through the lens of theatre and performance, particularly the writings of Peter Brook and Tim Etchells on “the empty space” and through affect theory and nonrepresentational writing, particularly the work of Kathleen Stewart, Ken Gale, and Jonathan Wyatt.

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27

Rocha, Daniel, and Isabel Bezelga. "Diálogo Intercultural." Pitágoras 500 11, no. 1 (July 16, 2021): 35–47. http://dx.doi.org/10.20396/pita.v11i1.8663651.

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Este artigo faz uma proposta de aplicação do “sistema” de Peter Brook no trabalho com comunidades, tendo como base um processo de trabalho comunitário que reformule e recupere de forma digna e meritória uma tradição de teatro religioso. O mesmo processo poderá ser executado noutros contextos e comunidades.

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28

Texier, Vincent Le. "An Actor's Impressions of Golaud." New Theatre Quarterly 10, no. 40 (November 1994): 365–71. http://dx.doi.org/10.1017/s0266464x00000919.

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HOW DID YOU WORK with Peter Brook on Impressions de Pelléas? Did he group the three different casts together so that you could sing and act your part together – three Mélisandes, three Golauds, and so on? Was the aim to find one single interpretation or three different ones?

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29

Saivetx, Deborah. "An Event in Space: The Integration of Acting and Design in the Theatre of JoAnne Akalaitis." TDR/The Drama Review 42, no. 2 (June 1998): 132–56. http://dx.doi.org/10.1162/dram.1998.42.2.132.

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Whatever [the actor] represents in the play, in the order of time he is representing nobody but himself. How could he? That's his body, doing time. —Herbert Blau Improvisation must be a research activity conducted by someone who is trying to break out oftheir own passivity. Peter Brook

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30

BORIÇI, Dritan. "Close up theater – an innovation in stage art studies." Polis 21, no. 1 (2022): 128–37. http://dx.doi.org/10.58944/rshg1308.

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In this article we will try to offer a new perspective on the theater, and we will try to include the theater in other spaces to create artistic values, including digital technology. Since its beginning, the theater space has been a place to see, to watch, to present, to perceive, to understand. So, in a basic sense, theater has been and is a first pathway. At the core of the theatrical experience – as Peter Brook suggests – is the act of watching and being watched. Throughout the history of Western culture, the theater has been a primitive dance circle, a Greek amphitheater, a church, an Elizabethan stage, a market square, a garage, a street, a front stage theater, a Broadway theater, a theater house university, a restored warehouse or recently, even a digital platform on our laptop, computer, or mobile phone. Close-up theater is a continuation of the conceptual changes that took place with theater spaces – and therefore – with the way of watching theater. In the past decades, Jerzy Grotowski in Poland, Ariane Mnoushkin in Paris, Peter Shuman in Vermont and Peter Brook from Africa in Avignon, France, have organized the theater space in different ways to bring the audience and the actors as close as possible to each.

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31

Mitchell, Steve. "The Theatre of Peter Brook as a Model for Dramatherapy." Dramatherapy 13, no. 1 (December 1990): 13–17. http://dx.doi.org/10.1080/02630672.1990.9689789.

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32

Ortiz, Sergio Ricardo Lessa. "O espaço vazio em Sonho de uma Noite de Verão (1970)." Pitágoras 500 9, no. 1 (May 27, 2019): 24–35. http://dx.doi.org/10.20396/pita.v9i1.8655499.

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Este artigo aborda questões sobre o processo de concepção dos cenários e trajes de cena para o espetáculo Sonho de uma Noite de Verão, de William Shakespeare, sob direção de Peter Brook. Apresenta de forma breve os princípios que conduziram a concepção do espetáculo teatral e consequentemente os desenhos e propostas dos elementos cênicos.

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33

Ortiz, Sergio Ricardo Lessa. "Quando a estética realista se torna simbólica: O Jardim de Cerejeiras de Peter Brook (1981)." Revista Aspas 10, no. 2 (December 20, 2021): 117–28. http://dx.doi.org/10.11606/issn.2238-3999.v10i2p117-128.

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Este artigo aborda questões sobre o processo concepção dos elementos visuais do espetáculo O Jardim das Cerejeiras de Peter Brook. Destaca sobretudo a compreensão sobre o impacto do simbólico pensado para os cenários do espetáculo sobre os trajes de cena elaborados por Chloé Obolensky, cenógrafa que estreou com essa montagem no Centro Internacional de Pesquisa Teatral em 1981.

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34

Pavićević, Jovana. "Artoovo pozorište surovosti i njegovo nasleđe." Issues in Ethnology and Anthropology 11, no. 4 (January 2, 2017): 1153. http://dx.doi.org/10.21301/eap.v11i4.11.

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Antonin Artaud (1896–1948) is considered to be one of the most influential theatre practitioners in the 20th century although his theory has been deemed too abstruse. The aim of this paper is to offer a systematic account of Antonin Artaud’s concepts for his Theatre of Cruelty and the ways it influenced subsequent theatre practitioners, namely Peter Brook, Jerzy Grotowski and Eugenio Barba.

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35

Felício, Vera Lúcia Gonçalves. "O tempo presente no processo teatral." Discurso, no. 19 (August 9, 1992): 43–58. http://dx.doi.org/10.11606/issn.2318-8863.discurso.1992.37948.

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Rejeitando a noção de um teatro burguês, comercial, sinônimo de recepção passiva, Peter Brook reflete sobre dois outros tipos de teatro que tentam responder à proposta de um teatro vivo: o “Teatro Sagrado" e o “Teatro Bruto". Ele se propõe a reabilitar o sentido do Sagrado e do Popular (Bruto) levando em conta as condições vigentes atuais e o contexto em que a prática teatral se efetiva.

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36

Steenbergen, Maarten Van. "Kracht en zwakte van het transparante. Over "La Tempête" van Peter Brook." Documenta 9, no. 4 (May 4, 2019): 202–10. http://dx.doi.org/10.21825/doc.v9i4.11110.

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37

Elias, Larissa. "Os esvaziamentos do ator e da cena no teatro de Peter Brook." Urdimento 1, no. 7 (October 29, 2018): 07–15. http://dx.doi.org/10.5965/1414573101072005007.

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38

Cole-King, Helen. "La musique comme cadre dans la mise en scène de Peter Brook." Polysèmes, no. 11 (January 1, 2011): 135–56. http://dx.doi.org/10.4000/polysemes.646.

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39

Lee, So-Rim. "Translation, Adaptation, and Appropriation in Brook's Mahabharata." New Theatre Quarterly 34, no. 1 (January 10, 2018): 74–90. http://dx.doi.org/10.1017/s0266464x17000690.

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In this article So-Rim Lee closely investigates the Mahābhārata in relation to – but quite distinct from – The Mahabharata: a Play (1985) by Peter Brook and Jean-Claude Carrière. Since the ancient text of the Mahābhārata does not have a definitive author, version, or form, So-Rim Lee argues that Brook and Carrière's framing of their modern reading as an adaptation of the ancient text poses a series of questions regarding the politics of recontextualizing a South Asian text in Western terms, the methodological process involved in doing this, and the ethical stance espoused by the transcultural adapters. She then questions whether the audience actually finds Brook and Carrière's international, multi - racial production as cosmopolitan and multicultural as the authors claim it to be. If The Mahabharata: a Play is a matter of cultural appropriation rather than adaptation, what transgressions are involved in reframing the source text and how does it produce what Gayatri Spivak calls ‘epistemic violence’? Lee is a doctoral candidate in the Department of Theater and Performance Studies at Stanford University. She has previously reviewed for Theatre Survey and Performance Research.

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40

Harris, Laurilyn J. "Peter Brook's King Lear: Aesthetic Achievement or Far Side of the Moon?" Theatre Research International 11, no. 3 (1986): 223–39. http://dx.doi.org/10.1017/s0307883300012360.

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In 1965, in an interview in Sight and Sound, Peter Brook eloquently discussed the difficulties of filming Shakespearian plays, decrying the ‘sad history of Shakespeare on the screen’ and denouncing the majority of Shakespearian films as ‘pitiful’ and ‘unspeakably bad’. Speaking at UNESCO's Shakespeare Quatercentenary Celebration in Paris, he said, in essence, that Shakespeare was impossible to film at all. However, the winter of 1968–9 found Brook in Northern Jutland, filming one of Shakespeare's most profoundly intricate tragedies, King Lear. When the film was released in 1970–1, critical reaction ranged from rapture to outrage. Nigel Andrews called Brook's Lear ‘a distinct achievement’, praising the acting, the setting, and, above all, Brook's use of the camera to ‘transcend repre-sentationalism’. Frank Kermode hailed Lear as a ‘fully realized and deeply imagined version of this great work … a masterly conception of the play’. Charles Phillips Reilly cautiously labelled the film ‘a mixed bag’, lauding Paul Scofield's performance as Lear and Brook's understanding of the themes of the play, but criticizing the camera work, especially in the storm sequence. Pauline Kael, the formidable reviewer for The New Yorker, simply said ‘I hated it’, and dismissed the film as ‘gray and cold … the drear far side of the moon’. According to Kael, the concept was ‘second-rate’, the script ‘plotless’, and the actors walking corpses.12 She dubbed the film ‘Peter Brook's “Night of the Living Dead”’.

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41

Ames, David. "Plus ça change …?" International Psychogeriatrics 15, no. 2 (June 2003): 107–10. http://dx.doi.org/10.1017/s1041610203008792.

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Who remembers the Royal Shakespeare Company production of Romeo and Juliet that followed the brilliant Peter Brook conception? Who can speak for 10 minutes about the U.S. President who succeeded Abraham Lincoln? How (if he hadn't lost his head for being a tax farmer) would Lavoisier have topped his discovery of the existence of oxygen? These thoughts crossed my mind on January 3rd as I took over day-to-day editorial responsibility for International Psychogeriatrics from Robin Eastwood.

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42

Okamoto, Eduardo, Vanessa Cristina Petrocanri, and Brenda Diniz Avelino. "Fricções culturais e criação cênica nas obras de Peter Brook, Ariane Mnouchkine, Rustom Bharucha e Jerzy Grotowski." Pitágoras 500 7, no. 1 (August 24, 2017): 81. http://dx.doi.org/10.20396/pita.v7i1.8650802.

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Esta pesquisa faz parte do Grupo de Estudos da Atuação, coordenado pelo Prof. Dr. Eduardo Okamoto, da Universidade Estadual de Campinas. Os estudos do grupo debruçam-se sobre o trabalho de ator e, neste momento, dedicam-se especialmente à pesquisa das relações entre criação cênica e trocas culturais. Como parte deste estudo, diferentes membros do grupo dedicam-se à investigação de conceitos caros ao tema geral de trabalho (a saber: “multiculturalismo”, “interculturalidade”, “transculturalidade” e “intraculturalidade”), analisando o discurso de diferentes artistas e pesquisadores da segunda metade do século XX: Peter Brook (1925 - ), Ariane Mnouchkine (1939 - ), Rutsom Barucha (1953-) e Jerzy Grotowski (1933 – 1999). Ainda que se tenha feito um levantamento bibliográfico e filmográfico de apoio, a pesquisa concentrou-se, sobretudo, no levantamento dos termos acima apontados em falas produzidas pelos pesquisadores estudados (inclusive entrevistas). No caso do estudo de material produzido diretamente por Brook, Mnouchkine e Bharucha preferimos o estudo de discursos nas línguas originais em que foram produzidos (inglesa e francesa) para evitar problemas de tradução. No caso do trabalho de Grotowski, foram estudados textos em português e inglês.

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43

Thielemans, Johan. ""Vorrei e non vorrei." Contradicties te koop bij Peter Brook en "Don Giovanni"." Documenta 16, no. 4 (May 28, 2019): 355–64. http://dx.doi.org/10.21825/doc.v16i4.11231.

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44

INNES, CHRISTOPHER. "Puppets and Machines of the Mind: Robert Lepage and the Modernist Heritage." Theatre Research International 30, no. 2 (July 2005): 124–38. http://dx.doi.org/10.1017/s0307883305001136.

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The work of Robert Lepage is examined in the context of the avant-garde, from Robert Wilson and Peter Brook, through the French Surrealists, back to Edward Gordon Craig. As well as being an icon of post-modernism, analysis of productions such as Needles and Opium, Elsinore and Zulu Time show the degree to which Lepage has realized Craig's ideals of the Übermarionette, and his screens, as well as ‘Scene’, his concept of a flexible, mechanized performance space. What this demonstrates is the unity of the modernist movement throughout the twentieth century.

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45

Vaneau, Célia Regina Gouvêa. "Memória e ancestralidade: lastros que ecoam e escoam na contemporaneidade." Sala Preta 16, no. 1 (July 1, 2016): 82. http://dx.doi.org/10.11606/issn.2238-3867.v16i1p82-91.

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O presente artigo propõe uma reflexão quanto à transformação de parâmetros, quando o predomínio do procedimento conceitual cede à emergência da memória, ou aquilo que está inscrito no corpo; questiona a existência de núcleos culturais preservados e evita a dualidade entre central e periférico. A partir de eventos observados em certas regiões do Brasil, encontra a fértil via da ancestralidade, presente em instâncias várias da produção artística. Os argumentos são sustentados, entre outros, pelo pensamento dos encenadores Jerzy Grotowski e Peter Brook, dos teóricos Henri Bergson e Walter Benjamin e do neurocientista Antonio Damasio.

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46

Baião, Livia De Sá. "O sertão de Bia Lessa." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 1 (March 21, 2019): 283–306. http://dx.doi.org/10.17851/2358-9787.28.1.283-306.

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Resumo: O objetivo do presente trabalho é refletir sobre a releitura dramática que a diretora Bia Lessa fez da obra Grande sertão: veredas, de João Guimarães Rosa. Com apoio de pressupostos teóricos de pensadores como Peter Brook, Bertold Brecht e Roland Barthes, a intenção é examinar a encenação do romance a partir do texto dramatúrgico (escrita cênica) construído pela própria diretora. Com vasta experiência em adaptações para o teatro de obras literárias canônicas (O homem sem qualidades, de Robert Musil; Os possessos, de Dostoievski; e muitas outras), Bia Lessa coloca em cena diferentes linguagens, tais como a expressão corporal trabalhada no limite e uma arquitetura cênica surpreendente. Assim, o sertão rosiano salta das páginas para o palco, eclodindo em pura teatralidade.Palavras-chave: Grande sertão: veredas, Bia Lessa, teatro, literatura, adaptação, encenação.Abstract: Our objective is to reflect on director Bia Lessa’s adaptation for the stage of Grande sertão: veredas novel. The main thinkers who will underpin this work are Peter Brook, Bertold Brecht and Roland Barthes. Our intention is to examine the dramatic text and the staging of the novel, both made by the director. With a vast experience in adapting canonic literary works (The man without qualities by Robert Musil; The possessed by Dostoievski, and many others), Bia Lessa takes books to theatre using different languages, such as body expression, explored to its limit and with an unusual set. Thus, Guimarães Rosa’s backlands is brought from pages to stage shining in pure theatricality.Keywords: The devil to pay in the backlands, Bia Lessa, theatre, literature, adaptation, staging.

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Gutiérrez Martínez, María del Socorro. "La puesta en escena en el aula de Enseñanza del Español como Lengua Extranjera (ELE)." Decires 22, no. 27 (January 1, 2022): 7–28. http://dx.doi.org/10.22201/cepe.14059134e.2021.22.27.317.

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Este trabajo propone el uso del espacio vacío para el aprendizaje del español como lengua extranjera (ELE), tomando como marco teórico las ideas de Peter Brook (2014) y la puesta en escena en la clase ELE como metodología y recurso pedagógico. Se muestra en este texto el trabajo de campo llevado a cabo en una presentación en el aula, cómo se utilizaron elementos y objetos de uso habitual en la clase, la puesta en escena y el arte de las expresiones oral, visual, corporal y auditiva, que componen las perspectivas del trabajo del Marco Común Europeo de Referencia para las lenguas: aprendizaje, enseñanza y evaluación (MCER). Se propone el empleo de aquellos elementos que la escenificación proporciona y que se tienen al alcance en el aula. Se plantea la investigación-acción, que muestra las posibilidades pedagógicas que pueden mejorar la atmósfera en el grupo, el desarrollo de la afectividad, la concentración, la gramática en acción y el aprendizaje colaborativo en un ámbito intercultural por medio de la puesta en escena y de la utilización del espacio siguiendo los postulados de Brook

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48

Zaroulia, Marilena. "The greatest shows on Earth: world theatre from Peter Brook to the Sydney Olympics." Studies in Theatre and Performance 34, no. 1 (January 2, 2014): 100–101. http://dx.doi.org/10.1080/14682761.2013.877292.

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Marowitz, Charles. "Silent Partners: the Marriage of Brecht and Bentley." New Theatre Quarterly 25, no. 2 (May 2009): 118–20. http://dx.doi.org/10.1017/s0266464x09000219.

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Charles Marowitz's Silent Partners, based on Eric Bentley's book The Brecht Memoir (1989) and on the author's subsequent interviews with Bentley, premiered under Marowitz's own direction at the Scena Theatre in Washington, DC, in 2006. Here, he describes the genesis of the play and the working relationship with Bentley which in turn explored Bentley's working relationship with Brecht. Charles Marowitz was a close collaborator with Peter Brook in the RSC's experimental work in the 1960s, and was founder and director of the Open Space Theatre in London, but now works permanently as a writer, director, and critic in the USA.

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Geirola, Gustavo. "Jerzy Grotowski y la peligrosidad de los prólogos." Investigación Teatral. Revista de artes escénicas y performatividad 11, no. 17 (May 29, 2020): 30–53. http://dx.doi.org/10.25009/it.v11i17.2626.

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El ensayo es una aproximación preliminar a la relectura crítica de Hacia un teatro pobre, de Grotowski. Considerando la versión en inglés (1968) y la traducción al español (1970), se cuestiona la pertinencia, los beneficios y hasta los obstáculos que la nota escrita por la traductora Margo Glantz, la nota anónima y el prefacio de Peter Brook aportan, cuando no desvirtúan, la lectura de la propuesta del maestro polaco. Esos prolegómenos, que en su momento presentaron a Grotowski a un público occidental, pueden ser hoy considerados en parte responsables del dogmatismo con el que se dispersó su enseñanza por el mundo y del misticismo que rodeó a la figura del maestro. Se hace, pues, necesario, revisar esas lecturas para liberar los textos grotowskianos y abrirlos a perspectivas contemporáneas en la praxis teatral.The Legacy of Jerzy Grotowski in Argentine TheatreAbstractThe essay is a preliminary approach to a critical reading of Grotowski’s Towards a Poor Theatre, taking into consideration the English version of 1968 and its Spanish translation of 1970. The author problematizes the introductory ‘note’ written by Margo Glantz (translator of the Spanish version), and the preface by Peter Brook, arguing that they distort the reading of the Polish director’s work. Those texts, which at the time served the purpose of introducing Grotowski to a Western audience, can be considered today partly responsible for the dogmatism with which his teaching was received around the world and the mysticism with which he was cloaked. It is therefore necessary to critique these readings, and thus open Grotowski’s writings to a contemporary understanding of theatrical praxis.Recibido: 28 de enero de 2020Aceptado: 03 de marzo de 2020

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