When the audience sits bored, listening to a recital of words with no emotion, the actor has failed. In Peter Brook’s work as a film and theater director, actor, and writer, this concept lies at the heart of everything.
Human connection is the essence of quality theatrical productions, according to Brook.
Directing is one of Brook’s media for defining the human connection. “The supreme jujitsu” style of directing “would be for the director to provoke such an outpouring of the actor’s inner richness that it completely transforms the subjective nature of his original impulse,” he claims (Brook, 61).
Non-directional directing is what he’s talking about. Actors need to uncover their characters’ feelings on their own, without the director’s guidance, in order to play their roles with authenticity.
As a result, the director’s responsibility is to work with the actor to elicit any hidden feelings. It’s possible to make a real connection between the actor and the audience if this can be done correctly.
What Was Peter Brook Known for?
Both in 1966 and 1970, he received Tony Awards for Best Direction for his stagings of Peter Weiss’ “Marat/Sade” and Shakespeare’s “A Midsummer Night’s Dream,” respectively.
Throughout his seven-decade career, Brook also won an Olivier Award, an Emmy, and an International Emmy.