“Theater is a living experience, We have a responsibility to not let the flame go out”, Peter Brook
“Fortunately we will never know who was Shakespeare!…”, Peter Brook
In his new project, perhaps his last Shakespeare, Peter Brook returns to work with actors of different nationalities and cultures , although less than usual due to the pandemic that has hindered the mobility of veteran artists with whom he usually works. Even so, Prospero, the protagonist of ‘The Tempest’, is an actor trained in the tradition of British theater of African origin, Ery Nzaramba. Sylvain Levitte, Paula Luna, Fabio Maniglio, Luca Maniglio and Marilù Marini complete a fairly young cast.
“This version of ‘The Tempest’ arose from several workshops from which emerged a shorter, more accessible work and I hope it was just as moving,” said his faithful collaborator and co-director on this work, Marie-Hélène Estienne. “The magic of the void is perhaps one of the reasons we wanted to ride this reduced ‘Tempest’,” acknowledged Brook.
“I am interested in resonance, something difficult to explain but that can be experienced. Shakespeare is a great author and a poet, that is why each word has an obvious meaning. But in each sentence of Shakespeare there are things that are not explained,” he pointed out with a thread of voice this admired explorer of the theater, renovator of the genre in the twentieth century.
“Tempest Project speaks of the storm that each of the characters carries within and that must calm. But the main theme of the play is freedom. A theme that resonates throughout the ages.”, points Peter Brook.
Tempest Project rests on the actors: “You can never replace the human part”, he pointed out with a thread of voice, this admired explorer of the theater, renovator of the genre in the twentieth century. “I am ready to disclaim my opinion of yesterday even of 10min ago, because all opinions are relevant. There are three kind of truth: My truth, your truth and THE TRUTH”, Peter Brook
But his insistence on interrogating how we make theatre, who makes it, where we perform it and who watches it was genuinely pioneering and has its legacy everywhere in contemporary theatre.
And in his own way Peter Brook was, like Prospero, a stage magician, conjuring meaning from the humblest of objects — a pole or a length of cloth.
Decades after the treatise ‘The empty space’, Brook has said that the magic of the emptiness is one of the reasons why he wanted to make this ‘Tempest’, and has emphasized that this work rests on the actors: “You can never replace the human part “, has considered.