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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.”
— Peter Brook, who was born in London on this day in 1925, on storytelling
  From “King Lear” to the “Tragedy of Carmen,” from “Marat/Sade” to the epic “Mahabharata,” Peter Brook has reinvented modern theatre, not once but again and again. In The Open Door the visionary director and theorist offers a lucid, comprehensive exposition of the philosophy that underlies his work. It is a philosophy of paradoxes: We come to the theatre to find life, but that life must be different from the life we find outside. Actors have to prepare painstakingly yet be willing to sacrifice the results of their preparation. The director’s most reliable tool may be his capacity to be bored. Brook illustrates these principles with anecdotes that span his entire career and that demonstrate his familiarity with Shakespeare, Chekhov, and the indigenous theatres of India and Iran. The result is an unparalleled look at what happens both onstage and behind the scenes, fresh in its insights and elegant in its prose. Read an excerpt here: http://bit.ly/OI5xtz

“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.”

Peter Brook, who was born in London on this day in 1925, on storytelling


From “King Lear” to the “Tragedy of Carmen,” from “Marat/Sade” to the epic “Mahabharata,” Peter Brook has reinvented modern theatre, not once but again and again. In The Open Door the visionary director and theorist offers a lucid, comprehensive exposition of the philosophy that underlies his work. It is a philosophy of paradoxes: We come to the theatre to find life, but that life must be different from the life we find outside. Actors have to prepare painstakingly yet be willing to sacrifice the results of their preparation. The director’s most reliable tool may be his capacity to be bored. Brook illustrates these principles with anecdotes that span his entire career and that demonstrate his familiarity with Shakespeare, Chekhov, and the indigenous theatres of India and Iran. The result is an unparalleled look at what happens both onstage and behind the scenes, fresh in its insights and elegant in its prose. Read an excerpt here: http://bit.ly/OI5xtz
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