• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

How do you think that Peter Brook has employed the ideas/techniques of the practitioners detailed in Mitter's study? With reference to Brook's own writings, particularly The Shifting Point.

Extracts from this document...

Introduction

10119319 DRA2001 How do you think that Peter Brook has employed the ideas/techniques of the practitioners detailed in Mitter's study? Please refer to Brook's own writings, particularly The Shifting Point, in answering this question. Peter Brook is one of the world's most famous directors and has much in-depth knowledge and experience of the theatre. "Brook is a key figure in modern theatre, building on the innovations of earlier practitioners ... and continuing that uniquely twentieth century institution, the director's theatre." (Halfyard, 2000:http://www.maxopus.com/essays/8songs_m.htm) Brook is known as "the leading director of his generation" (Peter Hall) and he claims he can take any empty space and call it a bare stage, but where did he get his inspiration? Who are his influences? In this essay, I am going to try and find any similarities between Brook's theatre techniques and those of Konstantin Stanislavsky, Bertolt Brecht and Jerzy Grotowski. I am looking for if he has more preference towards one of these directors or uses a combination of each of their rehearsal methods with his actors. Shomit Mitter's study, Systems of Rehearsal, looks at the process of rehearsal according to Brook, associating his rehearsal techniques with those created by Stanislavsky, Grotowski and Brecht. ...read more.

Middle

(Brook, 1987:232) At a first glance, this seems a very spiritual statement from Brook, but through reading it again it shows him trying to replace honesty (from the character) with words spoken with deep meaning (from the actor). Although this is only my personal interpretation. Throughout this chapter in The Shifting Point, I noticed that he is constantly asking us, the reader, questions about acting and the theatre. At times he answers with his ideas, telling us his methods and ideas, when he does answer you can almost hear him shouting, preaching the answers to the reader, which just shows how passionate he is about his theatre. "Grotowski is unique. Why? Because no one else in the world, to my knowledge, no one since Stanislavsky, has investigated the nature of acting, its phenomenon, its meaning, the nature and science of its mental-physical-emotional processes as deeply and completely as Grotowski." (Brook, 1987:37) This extract shows that although Brook has much in common theatrically with Stanislavsky, he has now met someone who uses similar methods but in Brook's eyes, uses these methods in a better way. ...read more.

Conclusion

Through these, through sympathy, through respect, we came together." (Brook, 1987:38) Brook utilises various methods from Stanislavsky and Brecht, but there are also disagreements with their methods: "There is so much of Brecht's work I admire, so much of his work with which I disagree totally." (Brook, 1987:26-27) Like anybody who has a passion for something, whether it is art, sport or theatre, Brook has looked to his passion, theatre, and it's innovations and predecessors. Brook has took the essential elements from these practitioners and made them his own. The way Brook regularly asks the questions in his books to the reader, does bring the whole text to life as if he is testing the reader on what they have just read; you could even compare it to an exam revision textbook. Obviously this is not what the genres of his books are about, both The Shifting Point and The Empty Space are autobiographies of his life in theatre; part of the title of The Shifting Point even says forty years of theatrical exploration. I feel all of his works in text are learning resources, not just for drama students, but also for anybody who enjoys the theatre to show them the hidden depth of performance, not just linked with the acting- all the elements that make an ideal, true-to-life or alienating performance. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Theatre Studies section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Theatre Studies essays

  1. Peer reviewed

    Indicate how the influences and ideas of other playwrights and/or directors, designers and performers ...

    3 star(s)

    This also linked to the work of Emile Zola who strongly believed in historical accuracy, and authenticity of characters props and costumes. He wanted to create and overall picture resembling photographic detail of the period in question. We tried to incoprorate this into the Suffragette scene.

  2. Samuel Becketts Endgame has several connections with Brechts meaning of alienation. Brecht alienation idea ...

    His allusion to Artuad as the "Mad Mann" suggests that the time period of this play Endgame (Dilworth, 3). Outside references lets the audience of his plays knowing more and getting a different experience. Then, when Clov looks through one window and sees the ocean and looks through another and sees land, this suggests an allusion of place.

  1. Modernism.Political Theatre, like the rest of Modernism posed a number of experimental, and often ...

    As a result, strong allegiances were built with Russia, and many artists of the Modern era migrated there to find jobs. Piscator was a revolutionary Marxist; he disliked the Nazis and produced many political plays attacking the regime. However, Piscator's theatre was subject to party orders and the political issues of the time.

  2. The Job - Dramatic aims and objectives.

    The purpose of our action towards each other was how we felt about each other. In doing this we were able to develop how our body language, the way we talked and looked at each other would represent our relationships.

  1. The Caucasian Chalk Circle - Exploration Notes

    and physically - and she continues to show her mental strength in the end of the play when she's willing to give away her the child that she's raised for her entire life just to make sure that it lives.

  2. Performing Arts A2 - Unit 4 - Report Secion (1 Specialism)

    After you start work as an actor, it is unlikely that formal training leading to vocationally-related qualifications will be provided. Skills are developed on the job, through rehearsal and performance, as you move between contracts and this experience is evidenced on your CV rather than on certificates.

  1. elizabethan times theatre history

    because lots of people came together in one place so the plague could have easily been spread from one person to another. An example of this is in source E as it says that some theatres had to be closed down because of the plague and were only allowed to

  2. Developmental Process. To explore the different aspects of city life, we all came ...

    We found that this idea was the most effective and one which we would be able to build upon so therefore settled on this idea. For our research we focused on locating various newspaper articles of people who were trapped by the snow in different parts of the country.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work