Peter Brooks: The Deadly Theatre

Is theatre nothing more than entertainment?

• No, in today's day, we see theatre as something wildly entertaining and extremely loud and glamorous. But we realize that theatre is something much deeper with meaning. Theatre can be made with just an empty room and only one action happening. It can be done in anytime anywhere. 

How does the deadly theatre take easily to Shakespeare?

• Just like I mentioned before in the above question, I believe that theatre today tries to be like a big circus show. It must be wildly loud, bright, and entertaining. Shakespeare is obviously a huge influence today in entertainment. So whenever directors and actors perform and do Shakespeare, they try to imitate it in the "original way". It gets rather boring and people try to imitate past performances. It gets repetitive. Therefore, Shakespeare plays have been doomed to repeat over and over again and has set itself into a pattern of deadly theatre.

Is "boringness" a certain guarantee of a worthwhile event?

• No, not always. Obviously in every event, there will be moments that seem a bit dull or "boring", but it does not guarantee that it will be worthwhile. It also depends on one's definition of "worthwhile". To me, a worthwhile event does not require every second and moment to be fun-filled, it has to be meaningful and purposeful.

What role does mediocrity play?

• Mediocrity seems like such a boring aspect to have in a play, but in reality, because of the mediocre moments you can look forward to the climax and it more emphasizes the climaxes of the play in theatre. It gives you something to hope for and helps to give more purpose.

What is the difference between passing down "meaning" and "manner"?

• Passing down manner is a physical aspect that you can see. It is passing down a physical way someone has interpreted a play. It has more to do with the actors, setting, lighting, makeup, music, and technology. Passing down meaning is more of a mental or emotional aspect that you feel or take. It is more to do with the moral and seeing the play in a different perspective.

Is it true that "the best dramatists explain the least"? Can you think of some examples from plays you have seen or read?

• Yes, the best dramatists do not have the need to explain every action and reason for why they acted and said the things they did. People can just immediately see and receive the action and interpret it in their own way. 

How can you go from Deadly Theatre to Living Theatre as an actor?

• You need to realized the importance of theatre and read this book by Peter Brooks to see what exactly deadly theatre is. It will show you how to avoid being an actor of deadly theatre and transition to living theatre. You also need to realize that theatre is not just a big show, it is an actual form of art and a way to express yourself and take responsibility for your actions. It is about being dangerous and voicing out your emotions and opinions.

How did Peking Opera lose its connectedness to the life of society around it?

• Because Peking Opera was focused on the ancient traditions and cultures. It was unable to relate to the audiences of the modern society. It held on so tightly and strictly to the ancient times. 

At the heart of the meaning of Living Theatre: "theatre is always a self-destructive art, and it is always written on the wind." What is your interpretation of this?

• Theatre is self-destructive in that it does not lose its meaning or interest because of what people feel or what people think. It is not based on publicity nor is it based on popularity. It is based on its ability to relate and connect with the audience. It is self-destructive in that it depends on the art if it will stay connecting or if it will get old and not relate to later audiences.

• It is written in the wind in that it does not always stay current or consistent. It really depends on how well it is at staying current and close to the hearts of the people.

According to Brooks, what should be influencing theatre at all times?

• Theatre should always be influenced by the time and occurrences and by the opinion and voices of the people living at the time. It should be influenced by imagination and expression.

Other Questions:

• How do actors fix themselves from performing dangerous theatre?
• Do all or most actors agree with Peter Brooks about there being a dangerous theatre?