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	Peter Brook
		Peter Brook’s distinctive snow scenes, deserted farmhouses, derelict mills and lonely valleys are symbols of a vanishing world, well known and loved far beyond his native Yorkshire.
		Peter Brook was born in the winter of 1927 in the Pennine village of Scholes near Holmfirth in West Yorkshire.
		Peter Brook’s life is entwined within his paintings, from the streets of Brighouse to the pathos of Hannah Hauxwell,From the fierce competitiveness of the fell-runner or sheep-dog trialist to the strong emotional attachment with all his subjects, whether human, animal, building or landscape.
	www.smithykettlewell.co.uk /html/peter_brook.html (755 words)

	Peter Brook - Biography - Moviefone
		Brook's first mainstream film was The Beggar's Opera, a 1953 version of John Gay's satirical Baroque ballad opera starring Laurence Olivier in his singing debut as MacHeath.
		Brook's 1963 movie version of Lord of the Flies used William Goldman's allegorical novel as a springboard for a largely improvised and intensely brutal skewering of the British social structure, enacted by a group of non-professional children and filmed with two handheld cameras to create the illusion of spontaneity.
		Peter Brook at least can easily claim the distinction of being among a very few full-time theater directors, such as Bob Fosse, Alan Schneider and Luschino Visconti, to make a lasting and important contribution to the art of film.
	movies.aol.com /celebrity/peter-brook/83136/biography (661 words)

	Peter Brook Biography \| Encyclopedia of World Biography
		Peter Brook (born 1925) was a world renowned theater director, staging innovative productions of the works of famous playwrights.
		Peter Brook was born in London in 1925, the son of immigrant scientists from Russia.
		Brook's objective with the play, as with many of his other works, was to transcend what separates all people, whether culturally or intellectually, and find a common language within the context of the play.
	www.bookrags.com /biography/peter-brook (1056 words)

	Peter Brook - MSN Encarta
		Brook's success as a director began at a young age with stagings in London in his late teens.
		Brook successfully utilized the experimental theories of German dramatist Bertolt Brecht, Russian director Vsevolod Meyerhold, and Polish director Jerzy Grotowski, among others, in addition to the theater-of-cruelty concept of French writer and actor Antonin Artaud.
		Brook's motion pictures, some of which are also experimental in nature, include The Beggar's Opera (1953), Lord of the Flies (1963), Tell Me Lies (1968), King Lear (1971), La Tragédie de Carmen (1984), and The Mahabharata (1989).
	encarta.msn.com /encyclopedia_761574442/Peter_Brook.html (261 words)

	Brook, Peter - HighBeam Encyclopedia (Site not responding. Last check: 2007-10-13)
		Other Brook productions for the Royal Shakespeare Company included his famous staging of Peter Weiss 's Marat/Sade (1964), a play within a play set in the insane asylum housing the Marquis de Sade that examines both revolution and madness, and US (1966), an attack on U.S. involvement in Vietnam.
		During the 1960s, Brook's productions were influenced both by the shock tactics of Antonin Artaud and the analytical detachment of Bertolt Brecht.
		Brook has also directed films, such as Moderato Cantabile (1960), Lord of the Flies (1963), and King Lear (1971); and operas, such as Faust and Eugene Onegin.
	www.encyclopedia.com /doc/1E1-brook-p1e.html (595 words)

	Peter Brook - Reviews - Books - Entertainment - theage.com.au
		Peter Brook was the wunderkind of the late 1940s and '50s, taking the post-war British theatre, the theatre of Gielgud and Olivier, before the Jimmy Porters and Harold Pinters, and giving it the wonderment of some of its greatest moments.
		Brook's assistant Charles Marowitz said the immense phallic pillar that overwhelmed the stage was a symbol of the director's sense of his own power, though perhaps of not much else.
		Brook's very tapered Hamlet with Adrian Lester, performed at his theatre in Paris, which was shown on TV recently, is plainly (even in this crude record of it) a subtle and measured way into that dramatic enigma, and Lester lingers on Hamlet's consistencies rather than his mood swings.
	theage.com.au /news/Reviews/Peter-Brook/2005/06/17/1118869081282.html (1146 words)

	Peter Brook
		Peter Stephen Paul Brook (born 1925) is a British theatrical producer and director.
		Since then Brook has created a variety of other theatrical works, such as a version of Oliver Sacks's The Man Who Mistook His Wife for a Hat (1994), a production of Mozart's Don Giovanni (1998), and a streamlined Hamlet (2000).
		His work was inspired by the theories of experimental theatre of Grotowski[?], Brecht, Meyerhold[?] and theatre of cruelty of Antonin Artaud and the metaphysics of G.
	www.ebroadcast.com.au /lookup/encyclopedia/pe/Peter_Brook.html (251 words)

	What Is a Classic? Peter Brook on 'Hamlet'
		Peter Brook's adaptation, "The Tragedy of Hamlet," is surprising and demanding, a concentration he calls it, in which he has not changed a word but has radically cut and shifted lines and reduced the playing time to just over half the usual four-plus hours.
		Brook's last full "Hamlet" was with Paul Scofield in 1955 (his first was at the age of 7, for his parents, uncut and with himself in all the roles).
		Brook's remarkably clear but not uncontested reading of the text, which will be published with an explanatory introduction, was reached during intense rehearsals in which sections of text and even characters vanished.
	www.iht.com /articles/2001/01/27/blume.t_1.php (966 words)

	Nancho Consults: Peter Brook
		Peter Stephen Paul Brook CBE, director, filmmaker, author, painter, pianist and theater man to the bone, is a giant of world culture.
		Born on the spring equinox in 1925, Brook produced an acclaimed Faust at Oxford at 17 and at 20 became the youngest-ever director of the Royal Shakespeare Theatre.
		Peter Brook: I remember a number of years ago an English actor saying to me that he felt that there was something very much in common between England and Japan in relation to acting.
	nancho.net /advisors/brook.html (4842 words)

	'I hate nothing more than art and culture' \| \| Guardian Unlimited Arts
		It is simply because Brook lives in the moment; and this story, set in French colonialist Mali in the 1930s and 40s, and dealing with a doctrinal dispute between rival religious factions, was clearly uppermost in his mind.
		Peter Brook: It is quite clear that when one takes any political subject straight on the nose, one is in enormous danger of simplifying what everyone knows by heart from television and newspapers.
		Brook treats theatre less as a product than as a process: a collaborative means of exploring life's mystery.
	arts.guardian.co.uk /features/story/0,11710,1501674,00.html (1870 words)

	The Mahabharata: Peter Brook's film
		Director Peter Brook's screen presentation of the legendary Indian myth uses international cast, to emphasize the nature of the epic as a universal story of all humanity.
		On Brook's international group of actors trained in methods and traditions of acting and performance of their native cultures and his experiment with a universal or cross-cultural performance style or language.
		Brook is a universal man. For him, there are no barriers between people, which is rare in today’s world.
	www.miracosta.cc.ca.us /home/gfloren/mahabfilm.htm (1161 words)

	King Lear - Paul Scofield, Peter Brook 1971
		Directed by Peter Brook and backed by a skillful cast, his mastery and maturity are seen at their most stunning level.
		Peter Brook's film could perhaps be argued to take place in the Dark Ages, but Brook is clearly interpreting the play in a universally, timeless Beckettian sense.
		Brook's world-view is clearly informed by the Jan Kott school of Shakespeare criticism; the natural world is a reflection of the human one.
	www.learmedia.ca /product_info.php/products_id/30 (1507 words)

	French culture \| music \| Peter Brook's La Tragedie de Carmen (Site not responding. Last check: 2007-10-13)
		Peter Brook's controversial 1983 deconstruction, here directed by Karla Boos, eliminates the chorus, stripping the Spanish drama down to its core of four singers, two actors and an orchestra of ten players.
		Peter Brook is famous for creating an ensemble of actors from different cultures and exploring theatre and acting in an open-ended way without the usual constraints of a standard repertory house.
		Brook established the Centre international de recherche théâtrale (International Center of Theatre Research) in Paris between 1968-1974, creating an influential series of avant garde productions in the intimate Bouffes du Nord theater, including Timon of Athens, Ubu, Measure for Measure, The Cherry Orchard, the Mahabharata and The tempest.
	www.info-france-usa.org /culture/music/events/01carmenbrookdec.html (517 words)

	Swans Commentary: Peter Brook At Eighty, by Charles Marowitz - cmarow19
		Peter was always the epitome of good sense, intellectual curiosity, and unpredictable innovation, but highly susceptible to betrayal.
		Peter has reached the point where even poor reviews cannot diminish the glitter of the work he deems to be worth undertaking.
		Peter took many of Artaud's ideas and gave them a form they never had before; he worked closely with Jerzy Grotowsky and that minimalist approach to theatre unquestionably influenced his own scaled-down work on the classics.
	www.swans.com /library/art11/cmarow19.html (1865 words)

	Peter Brook - Pennine Landscape painter. (Site not responding. Last check: 2007-10-13)
		Peter Brook, the Pennine landscape painter, was born in 1927.
		Peter Brook, the Pennine landscape painter, was born in the winter of 1927.
		Peter has painted many areas of the British Isles including Scotland, Cornwall and the Potteries but his first love is the Yorkshire Pennines; often in winter.
	www.peterbrookart.co.uk /index.html (228 words)

	AllRefer.com - Peter Brook (Theater, Biography) - Encyclopedia
		An innovative, unconventional, and controversial figure, Brook mounts energetic productions in which the entire stage is utilized; he often has his actors singing, playing musical instruments, and performing acrobatics.
		Other Brook productions for the Royal Shakespeare Company included his famous setting of Peter Weiss's Marat/Sade (1964), a play within a play set in the insane asylum housing the Marquis de Sade that examines both revolution and madness, and US (1966), an attack on U.S. involvement in Vietnam.
		During the 1960s, Brook's productions were influenced by the shock tactics of Antonin Artaud and the analytical detachment of Bertolt Brecht.
	reference.allrefer.com /encyclopedia/B/Brook-Pe.html (426 words)

	Peter Brook: A Biography
		Brook, who was born in 1925 in the suburbs of London to Jewish immigrants from Latvia, was attracted to both theater and film from his youth - but on a scale far grander than most.
		Brook received acclaim for his fresh stagings of classics, opera and West End light entertainments, but it was this very eclecticism that allowed Brook to wed the avant-garde with the bourgeois theater.
		Perhaps influenced by Brook's lifelong fascination with Gurdjieff, the results were often revelatory, provocative, even mystical, as in a stripped-down production of "Carmen," but with the exception of the epic "Mahabharata," none equaled the grandeur or spectacle of Brook's earlier work.
	www.iht.com /articles/2005/05/24/features/bookwed.php (837 words)

	Peter Brook's Mahabharata: The Film by Pradip Bhattacharya
		Brook's panache for juxtaposing the grand and the ridiculous is unsurpassed.
		One of the finest scenes in the film is that in which Mallika-Draupadi, at once revolted by Bhima's demonic killing of Duhshasana and impelled by the memory of his molestation, approaches the gory corpse and in a single movement of ineffable grace kneels and casts her unbound tresses over the bloody entrails.
		Brook successfully creates an abiding impression in the film through his remarkably evocative and haunting use of the figure of Amba.
	www.boloji.com /cinema/028.htm (2309 words)

	Peter Brook and Traditional Thought
		The ‘miracle’ of Peter Brook’s theatre work seems to me to reside in precisely this sense of the moment, in the liberation of energies circulating in harmonic flux, incorporating the spectator as active participant in the theatrical event.
		Brook’s theatre space could be represented by a triangle, with the base line for the audience’s consciousness, and the two other sides for the inner life of the actors and their relations with their partners.
		A lot of the exercises elaborated by Peter Brook have as their precise aim the development of this state of unity between thought, body and feelings by liberating the actor from an over-cerebral approach.
	www.gurdjieff.org /nicolescu3.htm (10567 words)

	PETER BROOK - RSC 1946-1978 (Site not responding. Last check: 2007-10-13)
		The parallel with Lear is sibling-close, and Peter Brook cleverly strengthens it by having the fly-killing scene performed by a wanton boy.
		Brook is as swift with the styptic pencil as the author is with the knife.
		Brook cuts the last five words of Titus' unspeakable line, "Why, there they are both, baked in that pie," as he serves to Tamora his cannibalistic specialty - tete de fils en pate (pour deux personnes).
	members.aol.com /xtralinks/pb/pbrsc.htm (1257 words)

	Peter Brook: A Biography: Tunes, Tomes, & Videos on TheaterMania.com
		Brook's fertile imagination and unremitting efforts have kept his theatrical experiments in the crosshairs of cultural focus in a way that's unparalleled among directors in today's English-language theater.
		Brook has made no secret of his contempt for the audience (or critic) that "glibly asserts that life is good, that there is always hope and that all will be well." Observing him as the prophetic figure he is today, it's easy to overlook the fact that he didn't start life as an iconoclast.
		Kustow's treatment of sex and the grown-up Peter Brook suggests that the writer, as an acquaintance and admirer of his subject, is torn between wanting to sidestep intimate matters and fearing that he may paint an emasculated portrait.
	www.theatermania.com /content/news.cfm/story/5898 (1546 words)

	Peter Brook - Search Results - MSN Encarta
		Brook, Peter, born in 1925, English stage and motion-picture director, recognized for his contributions to the development of 20th-century theater....
		Theater: Peter Brook’s definition of theater as an empty space
		A prominent theater director, Peter Brook of Britain, has said that for theater to take place, an actor walks across an empty space while someone...
	ca.encarta.msn.com /Peter_Brook.html (101 words)

	ETO Peter Brook Candid Camera !
		Perhaps when Peter Brook celebrates his hundredth birthday we may anticipate a retrospect with some revelatory twist, stylistic shimmer, or special insight into this bafflingly complex character.
		By 1951 Brook, aged twenty-six, had become a pupil of Heap in London, and Segal had launched the bon ton journal Gentry (“It truly had a superior audience”)...Curious lines were now converging.
		It is Brook’s endorsement of Kustov’s biography which dignifies it; here then is the memorial or C.V. favoured by a first-rank cultural icon...Arguably more oblique is the American book’s significance.
	www.experimentaltheatre.org /peter_brook_candid_camera_!.htm (845 words)

	Columbia News ::: Columbia Hosts Month-long Residency of Peter Brook and Company
		With this residency, Brook is for the first time integrating his work into the life and culture of a large urban university.
		Brook directs an international cast, who hail from eight countries, including the Democratic Republic of the Congo, Rwanda, Mali and Vietnam.
		Brook, who was born in 1925 in London, cemented his reputation in the 1960s as the leading director of Shakespearean productions, including A Midsummer Night's Dream and King Lear for the Royal Shakespeare Company.
	www.columbia.edu /cu/news/05/01/peterBrook.html (871 words)

	Brook
		As with Lear and the Dream, Brook obtained a rehearsal period much longer than the season's norm: ten weeks for six principals, six for a further four actors and four to five weeks with the whole cast.
		Gained authority reduced the gawkiness, but the naiveté remained in his overt and enthusiastic curiosity on encountering Cleopatra and in the prolonged backward look at her before his final departure from the stage at the end of the play.
		Risking a powerfully romantic response to the play, and especially to Cleopatra, Brook drew from the whole of his large cast performances of the clarity and conviction needed to safeguard such a response against sentimentalism.
	www.alanhoward.org.uk /antcleobrook.htm (2178 words)

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