Peter Brook Quotes
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Tradition itself, in times of dogmatism and dogmatic revolution, is a revolutionary force which must be safeguarded.
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Drama is exposure; it is confrontation; it is contradiction and it leads to analysis, construction, recognition and eventually to an awakening of understanding.
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Shakespeare doesn't belong to the past. If his material is valid, it is valid now. It's like coal. The only meaningfulness of a piece of coal starts and finishes with its combustion, giving us light and heat. And that to me is Shakespeare.
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There are prophets, there are guides, and there are argumentative people with theories, and one must be careful to discriminate between them.
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Many audiences all over the world will answer positively from their own experience that they have seen the face of the invisible through an experience on the stage that transcended their experience in life. They will maintain that Oedipus or Berenice or Hamlet or The Three Sisters performed with beauty and with love fires the spirit and gives them a reminder that daily drabness is not necessarily all.
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We are aware that the conductor is not really making the music, it is making him -- if he is relaxed, open and attuned, then the invisible will take possession of him; through him, it will reach us.
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A word does not start as a word – it is an end product which begins as an impulse, stimulated by attitude and behaviour which dictates the need for expression.
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I am ready to disclaim my opinion, even of yesterday, even of 10 minutes ago, because all opinions are relative. One lives in a field of influences, one is influenced by everyone one meets, everything is an exchange of influences, all opinions are derivative. Once you deal a new deck of cards, you've got a new deck of cards.
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The purpose of theatre is... making an event in which a group of fragments are sudde nly brought together... in a community which, by the natural laws that make every community, gradually breaks up... At certain moments this fragmented world comes together and for a certain time it can rediscover the marvel of organic life ... The marvel of being one.
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Preparing a character is the opposite of building-it is a demolishing, removing brick by brick everything in the actor's muscles, ideas and inhibitions that stands between him and the part, until one day, with a great rush of air, the character invades his every pore.
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The closeness of reality and the distance of myth, because if there is no distance you aren't amazed, and if there is no closeness you aren't moved.
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One view of photography is that it is a zen-like act which captures reality with its pants down - so that the vital click shows the anatomy bare. In this, the photographer is invisible but essential. A computer releasing the shutter would always miss the special moment that the human sensibility can register. For this work, the photographer's instinct is his aid, his personality a hindrance.
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Nothing in theatre has any meaning before or after. Meaning is now.
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I've always worked a bit like a cook in a big restaurant, where you've got lots and lots of things laid out and you go and look into one cauldron and you look into the other and you see what's coming to the boil.
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Theatres, actors, critics and public are interlocked in a machine that creaks but never stops. There is always a new season in hand and we are to busy to ask the only vital question which measures the whole structure. Why theatre at all? What for? Is it an anachronism, a superannuated oddity? Surviving like an old monument or a quaint custom? Why do we applaud and what? Has the stage a real place in our lives? What function can it have? What could it serve? What could it explore? What are its special properties?
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An icon painter starts not with Jesus Christ but by finding earth and rubbing. Now what is earth, what are you rubbing in directing?
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It takes a long while for a director to cease thinking in terms of the result he desires and instead concentrate on discovering the source of energy in the actor from which true impulses arise.
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I can take any empty space and call it a bare stage. A man walks across this empty space, whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.
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You have to live to the responsibility of the person who has won, which is even greater than the responsibility of a person who has lost.
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The work of rehearsal is looking for meaning and then making it meaningful.
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In the theatre, every form once born is mortal; every form must be reconceived, and its new conception will bear the marks of all the influences that surround it.
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The work of a director can be summed up in two very simple words. Why and How.
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Time, which is so often an enemy in life, can also become our ally if we see how a pale moment can lead to a glowing moment, and then turn to a moment of perfect transparency, before dropping again to a moment of everyday simplicity.
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A stage space has two rules: (1) Anything can happen and (2) Something must happen.