The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate

by Peter Brook

Book Overview

A timeless classic on the art of theatre from the most influential stage director of the twentieth century. In this seminal and iconoclastic book, groundbreaking director and cofounder of the Royal... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 0684829576
• Release Date: December 1995
• Publisher: Scribner
• Length: 144 Pages
• Weight: 0.33 lbs.
• Dimensions: 8.5" x 0.5" x 5.3"

Customer Reviews

Visionary Defined

This is an exceptionally important book that forever changed the way I think about theatre. There is only one Peter Brook, and after you read this you will better understand what it means to work through the talent of others to visualize an idea and export its importance. The premise here is transformative and aspirational, embracing art as both vehicle and context. Take it a page at a time and then you will see the stage as a medium of endless potential.

Insightful and Important

Yes: Brook is a genius.Yes: This work is of great value to any theatre artist.BUT!!! This book is rather dense, and those who are unfamiliar with major movements and theories in the last century of theater may find themselves a bit lost when Brook begins to talk about Artaud and the "Holy Theater" or Brecht and "Rough Theater." Brook's ideas, through his sometimes dense writing, are meant to inspire and invigorate. This is not a manual or even a reference to create good theatre, as a major argument of Brook's is that good theater is far to complex and ever-changing to be explained by any book/manual/dogma/etc.Read this book and know that it will not help you to create good theatre- if anything, it will raise the bar for "good" theatre so much higher that one's task becomes infinitely more difficult. This is the agony and the ecstasy of reading Peter Brook.

The theatre as a living organism

Building upon the earlier work of Aristotle, Brecht, Artaud and others, Brook confronts the living organism of the theatre on four levels: Deadly, Holy, Rough and Immediate. In each level, Brook makes the case that the theatre is not only a necessary component to the human creature, but a being that despite its constant wounds and ills, manages to bounce up from the death bed and find a way to survive.Interestingly when Brook was writing (1968) there were many cynical critics who complained that the theatre was dying in the wake of television and film. Brook confronts the issue that theatre attendance was reacing all time lows. Today, over thirty years later, it is daunting to consider that there are even more distractions (the internet, home video, etc.) and attendance is even lower still. Yet despite these imposing knives thrusting into the communal body that is the Theatre, the world's oldest art form manages to forge ahead, survive and, the rare cases, thrive all the while maintaining its cultural importance.Brook believes the theatre is unique is that it requires a community of artists and audiences alike to exist. That very sense of humanity and awe is what allows it to flourish in many instances.Brook's writing is admittedly erudite and sometimes pretentious. And perhaps when one takes the positions that he does, such lofty language and posings may indeed be impossible. I hate to say it, but Brook's book may be hard going for the theatre lay person- God knows I'm aware of how elitist that sounds, but I think it is true. Because of his thick verbage, it may take a couple of stabs for the reader to unlock Brook's fevered soapboxing. But the journey is well worth the price.This is a book of theatre theory and therefore it may appear quite barren of practical solutions. However when read in conjunction with not only life experience in the theatre as well as the many great acting, directing and play wrighting texts, it does provide the theatre artist with the basis for forging a true political manifesto. To quote Brook himself, "To play needs much work. But when we experience the work as play, then it is not work any more. A play is a play."

Opening the mind

Have you ever noticed that several of the worlds truly Great Books are very short? Reading this book, along with The Dramatic Imagination by Robert Edmond Jones, Acting: the first 6 lessons by Boleshavsky and Aristotles Poetics are (to my less than humble opinion) all one really needs to have a degree in Theater/re.

A "Must Read" for everyone interested in theater

Peter Brook packs an incredible amount into this terse little gem of an essay. More than a discussion of his view of theater and some personal recollections, this book contains a how-to manual for every director, actor, designer, and producer. It is written in Brooks' unique style and is meant to be reread many times. With every reading, I find new insights as to how to bring real theatrical moments to my productions. As an essential part of my preparation for directing a particular project, I reread this classic. If it isn't on your bookshelf and isn't dog-eared from use, you aren't a complete professional in theater.

It's not just about the theater, but the real life, too!?!

In case you fell into empty space, you'll be able to find yourself. Not just on the stage, or live performing, but also in your real life. The book's words are frends to all readers, and to those who hate theater or don't understand it; everyone will get a brand new view to this matter. To all who'll read this book: "While reading this book, be patient and the fortune of new knowledge will appear! It's easy to understand the mistery of new world - theater! You'll be able to find the secrets of acting and performing forever!" Everybody sholud read this book, because it must be known to all!