The British Peter Brook, legend of the theater and one of the most influential directors of the XXe century, died Saturday at the age of 97, Agence France-Presse (AFP) learned on Sunday from his entourage, confirming information from the World.
The theater master, born in Great Britain, but who spent a large part of his career in France, at the head of his Parisian theater of the Bouffes du Nord, had reinvented the art of staging by favoring forms clean lines instead of traditional decors.
It was in the 1960s, after dozens of successes, including numerous plays by Shakespeare, and after having directed the greatest – from Laurence Olivier to Orson Welles – that this son of Jewish Lithuanian immigrants began his experimental period.
He created with the Royal Shakespeare Company a King Lear stripped (1962) and above all his surprising production of Dream of a summer night (1970) in a gymnasium in the shape of a white cube: it is the theory of “empty space” that will definitely mark contemporary theatre.
First published in book form in 1968, it gives free rein to the public’s imagination and is considered a “bible” for lovers of avant-garde theatre. “I can take any empty space and call it a stage” is one of his famous phrases.
“The visionary, the provocateur, the prophet, the trickster and the friend with the bluest eyes I have ever seen has left the house,” fellow director and actor Simon McBurney wrote on Twitter on Sunday.
His Marat / Sade fascinated London and New York, and earned him a Tony Award in 1966. In the early 1970s, he moved to France, where he founded the International Center for Theater Research, at the Théâtre des Bouffes du Nord.
He stages monumental pieces nourished by exoticism, with actors from different cultures, and will shoot all over the world, often in unseen places: from African villages to the streets of the Bronx via the Parisian suburbs.
His most famous piece is The Mahabharataa nine-hour epic of Hindu mythology (1985), which he presented for the first time at the Avignon Festival and which was adapted for the cinema in 1989.
In the 1990s, when he triumphed in the United Kingdom with Oh good daysby Samuel Beckett, critics hail him as “the best director London has”.
After an adventure of more than 35 years at the Bouffes du Nord, Peter Brook left the management of the theater in 2010, at the age of 85, while continuing to stage productions there, until recently.
“Peter Brook gave us the most beautiful silences in the theater, but this last silence is infinitely sad,” French Culture Minister Rima Abdul Malak reacted on Twitter, saying that with him “the scene is is purified to the most vivid intensity”.
In 2019, he pays tribute in Why? to Meyerhold, a great Russian figure in the theater and victim of the Stalinist purges, recalling one of his quotes: “The theater is a dangerous weapon. »
He has always refused to do committed theatre, preferring theater that invites reflection or spirituality, whether with Shakespearian plays or adaptations, such as Carmen.
“Some journalists come and ask me: ‘So you think you can change the world?’ This makes me laugh. I never had this claim, it’s ridiculous, ”confided to AFP in 2018 the man who had been shaken three years earlier by the death of his wife, actress Natasha Parry.
In addition to his faithful collaborator Marie-Hélène Estienne, he leaves behind two children, director Simon Brook and theater director Irina Brook.