Peter Brook Quotes

A stage space has two rules: (1) Anything can happen and (2) Something must happen.

Reality' is a word with many meanings.

A word does not start as a word – it is an end product which begins as an impulse, stimulated by attitude and behaviour which dictates the need for expression.

Time, which is so often an enemy in life, can also become our ally if we see how a pale moment can lead to a glowing moment, and then turn to a moment of perfect transparency, before dropping again to a moment of everyday simplicity.

Woman, especially her sexuality, provides the object of endless commentary , description, supposition. But the result of all the telling only deepens the enigma and makes woman's erotic force something that male storytelling can never quite explain or contain.

The closeness of reality and the distance of myth, because if there is no distance you aren't amazed, and if there is no closeness you aren't moved.

There are prophets, there are guides, and there are argumentative people with theories, and one must be careful to discriminate between them.

A large part of our excessive, unnecessary manifestations come from a terror that if we are not somehow signaling all the time that we exist, we will in fact no longer be there

I am ready to disclaim my opinion, even of yesterday, even of 10 minutes ago, because all opinions are relative. One lives in a field of influences, one is influenced by everyone one meets, everything is an exchange of influences, all opinions are derivative. Once you deal a new deck of cards, you've got a new deck of cards.

Wisdom not only comes with suffering: when it comes, it is radically unusable. (Brooks' comment on the Oedipus tragedy)

I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all is for an act of theatre to be engaged.

You become a director by calling yourself a director and you then persuade other people that this is true.

Truth in theatre is always on the move. As you read this book, it is already moving out of date. it is for me an exercise, now frozen on the page. but unlike a book, the theatre has one special characteristic. It is always possible to start again. In life this is myth, we ourselves can never go back on anything. New leaves never turn, clocks never go back, we can never have a second chance. In the theatre, the slate is wiped clean all the time. In everyday life, "if" is a fiction, in the theatre "if" is an experiment. In everyday life, "if" is an evasion, in the theatre "if" is the truth. When we are persuaded to believe in this truth then the theatre and life are one. This is a high aim. It sounds like hard work. To plays needs much work. But when we experiences the work as play, then it is not work anymore. A play is play.

#3. Meditate on God's many commands demanding that we love one another. When you feel your heart begin to turn against another Christian, this is the time to turn to the many commands to love one another-commands found in places such as John 15:12, Romans 13:8, Hebrews 13:1, 1 John 4:7, 1 Peter 1:22, and so on. Allow God's Word to convict you of love's necessity.

Cognitive psychologists have confirmed what we already knew: that readers of complex novels show a greater capacity for understanding the complexities of human interaction.8

Of course, it is most of all dirt that gives the roughness its edge; filth and vulgarity are natural, obscenity is joyous: with these the spectacle takes on its socially liberating role, for by nature the popular theatre is anti-authoritarian, anti- traditional, anti-pomp, anti-pretence. This is the theatre of noise, and the theatre of noise is the theatre of applause.

It's easy to give up, and that's the one thing we cannot do. That's what gives me a reason for working: to leave people with a little more courage, with a little hope that has been nourished. Even if, of course, it's going to disappear, whatever touches one isn't lost forever.

Because if one starts from the premise that a stage is a stage -not a convenient place for the unfolding of a staged novel or a staged poem or a staged lecture or a staged story- then the word that is spoken on this stage exists, or fails to exist, only in relation to the tensions it creates on that stage within the given stage circumstances.

everything,” Balzac claims, “is a mosaic.

Theatre is always a self-destructive art, and it is always written on the wind.

Once a computer was asked, "What is the truth?" It took a very long time before the reply came, "I will tell you a story…

Iš teisybės, režisierius niekada negali pripažinti, kad tai jo pirmasis pastatymas. Girdėjau, jog pradedantis hipnotizuotojas niekuomet neprasitaria pacientui hipnotizuojąs pirmąkart.

Peter looks up again, though he doesn't seem to see what's truly in front of him. No, he's watching something from years ago, watching another boy being taken away like the one I watched today.

Aktorius (ir bet koks menininkas) - nelyginant sodas: beprasmiška stengtis išravėti visas piktžoles vieną kartą ir visiems laikams. Piktžolės auga visada, tai natūralu, ir jas reikia rauti - tatai irgi natūralu, ir, be to, būtina.

The life of a play begins and ends in the moment of performance. This is where author, actors and directors express all they have to say. If the event has a future, this can only lie in the memories of those who were present and who retained a trace in their hearts. This is the only place for our Dream. No form nor interpretation is for ever. A form has to become fixed for a short time, then it has to go. As the world changes, there will and must be new and totally unpredictable Dreams.

To possess other eyes, to see the universe through the eyes of another, of a hundred others: this I think captures our love of and our need for novels, for fictional accounts of the world that let us experience it beyond the limits of our own pair of eyes, to imagine it, provisionally, as it is seen and felt by someone else, however different that person may be.

The weavers I’ve met are extremely relational. They are driven to seek deep relations with others, both to feed their hunger for connection and because they believe that change happens through deepening relationships. When they are working with the homeless or the poor or the traumatized, they are laboring alongside big welfare systems that offer services but not care. These systems treat people as “cases” or “clients.” They are necessary to give people financial stability and support, but they can’t do transformational change. As Peter Block, one of the leading experts on community, puts it, “Talk to any poor person or vulnerable person and they can give you a long list of the services they have received. They are well serviced, but you often have to ask what in their life has fundamentally changed.

Sigmund Freud finished what was to be his final reading. “Freud did not read at random,” Schur tells us, “but carefully selected books from his library.”8 His final choice fell on Balzac’s La Peau de chagrin. When he finished the book—the day before he called for the fatal injection—he remarked to Schur: “This was the proper book for me to read; it deals with shrinking and starvation.” Not only with shrinking and starvation but with all that precedes the final outcome of human desire: wanting, having, possessing, devouring.

The Drunken Fisherman" Wallowing in this bloody sty, I cast for fish that pleased my eye (Truly Jehovah's bow suspends No pots of gold to weight its ends); Only the blood-mouthed rainbow trout Rose to my bait. They flopped about My canvas creel until the moth Corrupted its unstable cloth. A calendar to tell the day; A handkerchief to wave away The gnats; a couch unstuffed with storm Pouching a bottle in one arm; A whiskey bottle full of worms; And bedroom slacks: are these fit terms To mete the worm whose molten rage Boils in the belly of old age? Once fishing was a rabbit's foot-- O wind blow cold, O wind blow hot, Let suns stay in or suns step out: Life danced a jig on the sperm-whale's spout-- The fisher's fluent and obscene Catches kept his conscience clean. Children, the raging memory drools Over the glory of past pools. Now the hot river, ebbing, hauls Its bloody waters into holes; A grain of sand inside my shoe Mimics the moon that might undo Man and Creation too; remorse, Stinking, has puddled up its source; Here tantrums thrash to a whale's rage. This is the pot-hole of old age. Is there no way to cast my hook Out of this dynamited brook? The Fisher's sons must cast about When shallow waters peter out. I will catch Christ with a greased worm, And when the Prince of Darkness stalks My bloodstream to its Stygian term . . . On water the Man-Fisher walks.

Peter Block is an author and consultant who writes about community development and civic engagement. He is a master at coming up with questions that lift you out of your ruts and invite fresh reevaluations. Here are some of his: “What is the no, or refusal, you keep postponing?…What have you said yes to that you no longer really believe in?…What forgiveness are you withholding?…How have you contributed to the problem you’re trying to solve?…What is the gift you currently hold in exile?” Mónica Guzmán, the journalist I quoted in the last chapter, asks people, “Why you?” Why was it you who started that business? Why was it you who felt a responsibility to run for the school board? A few years ago, I met some guys who run a program for gang members in Chicago. These young men have endured a lot of violence and trauma and are often triggered to overreact. One of the program directors’ common questions is “Why is that a problem for you?” In other words they are asking, “What event in your past produced that strong reaction just now?” We too often think that deep conversations have to be painful or vulnerable conversations. I try to compensate for that by asking questions about the positive sides of life: “Tell me about a time you adapted to change.” “What’s working really well in your life?” “What are you most self-confident about?” “Which of your five senses is strongest?” “Have you ever been solitary without feeling lonely?” or “What has become clearer to you as you have aged?