In this collection of essays, legendary theatre director Peter Brook reflects on the role of music in theatre and performance and revisits some of the best-known productions from his long and distinguished career, including Titus Andronicus, Don Giovanni, The Magic Flute, and The Prisoner. In his prologue, Brook writes, “As Orpheus discovered, every animal can respond to sounds. For us, the living question is ‘Which sounds? What music?’ In this book we will try to explore together the infinite range of experiences that can sometimes touch us deeply, sometimes leave us cold.” With topics ranging from how to evoke “true listening” to the relationship between words and music to the “living presence” of silence, Brook’s ever-inquisitive and questing mind invites the reader to pay greater attention to the rhythms and melodies present on stage and in life.
Peter Brook is one of the world’s best-known theatre directors. Outstanding in a career full of remarkable achievements are his productions of Titus Andronicus (1955) with Laurence Olivier, King Lear (1962) with Paul Scofield, and The Marat/Sade (1964) and A Midsummer Night’s Dream (1970), both for the Royal Shakespeare Company. Since moving to Paris and establishing the International Centre for Theatre Research in 1970 and the International Centre for Theatre Creation when he opened the Théâtre des Bouffes du Nord in 1974, he has produced a series of events which push at the boundaries of theatre, such as The Conference of the Birds (1976), The Ik (1975), The Mahabharata (1985) and The Tragedy of Carmen (1981) to name but a few. His films include Lord of the Flies (1963), King Lear (1970), The Mahabharata (1989), Tell Me Lies (restored 2013) and Meetings with Remarkable Men (restored 2017). His hugely influential books, from The Empty Space (1968) to Tip of the Tongue (2017), have been published in many languages throughout the world.
