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Tempest Project The Theater According To Peter Brook

He appears on the stage of the Lliure and automatically the audience rises to give him an enthusiastic ovation. It is about the event of the presence of the master Brook , who at 96 years of age gives those present a small introductory lecture on his return to Shakespeare’s ‘The Tempest’.

His slow thread of voice plays with the mystery of the chosen French words –’résonance ‘,’ touché’– but also with its reverse, silence, a powerful weapon in the hands of good directors. The lucid prologue leaves in the atmosphere a perfume of magic that summons the good spirits of the scene, an invitation to let ourselves be trapped by the spell that the work hides.

This is ‘The Tempest’, a piece that is considered the literary testament of the English bardand that, read at this point in his career by Brook and his close collaborator Marie-Hélène Estienne, takes on the aura of a fantasy tale. Prospero, dethroned Duke of Milan, is shipwrecked on an island with his daughter and his books.

Dedicated to the study of sorcery, in his retirement he will plot contacts with spirits like Ariel that help him prepare his revenge. It is a play about forgiveness and mercy, with intricate soliloquies and parallel plots. A hard and abrupt piece, as Brook himself recognized in his notes, which some consider a minor work and others a question mark. A challenge, in any case, because it forces the imagination of directors and audiences to refine until they reach that final monologue in which the magician and the writer seem to merge their voices as a farewell.

Peter Brook and his faithful collaborator Marie-Hélène Estienne, co-director of ‘Tempest Project’, yesterday at La Pedrera.

Peter Brook returns to Shakespeare’s infinity in ‘Tempest Project’
Who now seeks the magnetic vibration of legendary assemblies like the ‘Mahabharata’ will be disappointed. ‘Tempest Project’ is the result of a research workshop later transformed into a show, a circumstance that is evident in a very uneven cast and in the lack of overall rhythm of the proposal.

But the event is still present in the forms, in the self-conscious review of the milestones of that unmistakable style that stubbornly seeks the origins of the theater ritual, an expressiveness devoid of affectation that bets on clarity and seeks the truth of the text.or. Minimal scenery so that all our attention rests on the enigmas that Shakespeare hid in the words. The lesson of the brookian theater continues to resist the challenges of a current theater more concerned with technology and baroque forms.

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