Peter Brook returns to Rome and for many it will be the first time. The master now has 85 years, too many to lose poterselo. There are those who have never seen but has only heard about. He watched videos, read articles, listened to teachers name a maximum and insights. Yet so close there was never, now, the teacher is there to a foot from your nose, as the years go by, and (sorry to say) that time may not be repeated. We who have missed so many great and that one looks to the theater in the dark years of the crisis in the years when television seems to seize the imagination of the artistic genius, years of entertainment and disposable. We that, today, we decided to study and we love the theater of fools. Some died before we could find our first stop on a stage, there remains the biography, writings, video clips. By Peter Brook other hand, we still have a chance to see up close, to tell it, to try and save a piece of theater history. Because the theater is an art that you eat mainly live, that is consumed immediately and not play, is a painting, a book lives and multiplies, as well as film. The theater is living one night, and although today's technology allows us to take it back and store it, died with the closing of the curtain. It's nice to be we live, for once, before the staging of a master. Then, what will become of us, the theater, the old master? There will be a new teacher or we will all be swallowed up by the screen? Is there room in the auditorium, the room does not fill us and sweat behind the red cloth, looking forward, hoping not to die with him, not to stop him. We still want to drama, even if the disposable wants to stop us, though, the events seem to be unfavorable, we want more. Want. Because that's what makes us love the theater: the ability to continue even against the evidence of reality. Will close the theaters, but there will be roads, arrest us but we will always have the body and voice to scream our disappointment, our isolated world view, to communicate, to collect a soul from the earth and bring unhappy with us on our palm. The theater does not die, because there exists the body. He does not need electricity, breathing human heartbeats, sweats and trembles as he sweats and trembles a human being, and while there will be a man who sweats and trembles live theater. Always, and beyond places and governments.
wanted to be an article on the performance of Peter Brook, has become an outlet, a manifesto of love given to these pages. Today, hardly pronounce the word the word Theatre Fus I attack my personal manifesto, because there are realities that can survive only with the strength of his art. From allocated. It should
wanted to be an article on the performance of Peter Brook, has become an outlet, a manifesto of love given to these pages. Today, hardly pronounce the word the word Theatre Fus I attack my personal manifesto, because there are realities that can survive only with the strength of his art. From allocated. It should
Alessandro
***
on the show: Peter Brook will be staged at the Teatro Eutheca (European Union Academy of Theatre and Cinema) in Rome March 15 to 19 with Fragments, a show that brings together five pieces by Samuel Beckett: Rough for Theatre I, Rockabye, Act Without Words I, Neither and Come and go. Others do not because I want to add the name of Brook and Beckett set to apply the ticket, and because, in addition, certain events can also be enjoyed in the dark.
"Beckett was a perfectionist, but you can be a perfectionist without an intuition of perfection? Today, with the passage of time, we see they were the first false definitions on Beckett: desperate, negative, pessimistic. His humor saves him, and us, from the edge and rejects theories and dogmas that have pious consolations, yet his life was a constant, painful search for meaning. Beckett puts human beings, just as he knew them in the darkness. Constantly look through the windows, in themselves, in others, out, sometimes upwards, towards the vast unknown. He shares their uncertainties, their pain. But when Beckett discovers the theater, has presented a chance to fight for unity, a unity in which sound, movement, rhythm, breath and silence merge into a single justice. This was the ruthless request he made to himself - an unattainable goal that has fueled his need for perfection. So he enters the rare passage that connects the ancient greek theater, through Shakespeare, to this day, in a celebration of uncompromising search for truth, strange, terrible, unbelievable ... "
Peter Brook
F ragments
(Rough for Theatre I, Rockabye,
Act Without Words II, and
Neither Come and go)
Texts by Samuel Beckett Directed by Peter Brook & Marie-Hélène Estienne
with Hayley Carmichael, Bruce Myers, Yoshi Oida
Produced by CICT / Theatre des Bouffes du Nord, Paris
Ticket price: 20 € full price; € 15 concession ( www.eutheca.eu www.vivaticket.it )
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