{"id":44091,"date":"2021-12-12T06:00:00","date_gmt":"2021-12-12T05:00:00","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=44091"},"modified":"2025-10-18T16:08:33","modified_gmt":"2025-10-18T14:08:33","slug":"peter-brook-artist-crowned-by-the-years","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/en\/performing-arts\/theater\/peter-brook-artist-crowned-by-the-years\/","title":{"rendered":"Peter Brook, an artist crowned by the years"},"content":{"rendered":"

From 1957 to 1990, Peter Brook directed different versions of Shakespeare's work The Storm<\/em>. And yet, at the age of 96, he returns with a brilliant new stage proposition, this time in a more experimental form, that of a show created from a research<\/em> around the play. Freely adapted from the original work with the collaboration of Marie-H\u00e9l\u00e8ne Estienne, the text, though reduced to a 1h15 performance, remains at the heart of the work, without losing any of William Shakespeare's poetic value.<\/strong><\/p>\n\n\n\n\n\n\n\n

\u00abShakespeare is inexhaustible,\u00bb explains Brook in an interview with the audience after the show's premiere. Ever more curious about Shakespearean mysteries, the author of Empty space<\/em> or Suspension points<\/em> remains true to its artistic style: that of a theater where the stage is almost bare, leaving room for the original flavor of the text.<\/p>\n\n\n\n

This quest for sobriety is aptly served by the actors, who have the gift of bringing words to life and sowing the seeds of their imaginations in the audience. The airy grace of young Paula Luna (Miranda), the bewitching charisma of Ery Nzaramba (Prospero), the hilarious vivacity of Fabio and Luca Maniglio, the incredible adaptability of Sylvain Levitte (sometimes in the role of Caliban, as Ferdinand) and the luscious energy of Maril\u00f9 Marini (as Ariel) make up a perfect sextet whose vibrations are in perfect harmony, and whose complicity reaches our senses as soon as they enter the stage.<\/p>\n\n\n\n\n\n

Listening, the absolute paradigm of theatrical art according to the British director, exists here thanks to the triple conjunction of silence, experience of speech and awareness of others. The sobriety of the acting and the ability of the actors to be \u00abin the present\u00bb, reactive to their environment, create a strong link between the fiction and the audience. In fact, you can't take your eyes off what's happening on stage. If silence rules on stage, it also reigns in the auditorium.<\/p>\n\n\n\n

A \u00abtheater of the few<\/strong>\u00bb<\/h3>\n\n\n\n

We also enjoy Brook's famous \u00abrope exercise\u00bb, adapted to suit the dramatic circumstances: Miranda (Paula Luna) and Ferdinand (Sylvain Levitte), the island's two young lovers, use very thin sticks to form a line along which they walk towards each other, with one stick balanced on her head. A beautiful metaphor for the recognition of souls. It also highlights the remarkable skill of the two actors, reminiscent of the technique Peter Brook regularly teaches his actors: to place oneself in a state of extreme concentration and invoke an imaginary world, in favor of, among other things, honesty and precision in acting.<\/p>\n\n\n\n