The Stage Universalism of Peter Brook's Directed Theater

Abstract

The purpose of the work is to dentify the features of the artistic work of English director Peter Brook through the prism of the experimental nature of his creative studio. The methodology of the research is to use the following methods: historical – to study the specifics of the development of artistic creativity of P. Brooke during the twentieth – early XXI century. in the context of transformational features of socio-cultural space and theatrical art; typological – aimed at identifying and defining the techniques and methods of directorial universalism of P. Brooke; art critic, who helped to identify the specifics of the formation and formation of the director's handwriting of P. Brooke, through the prism of innovative experiments and stage universalism of his creative studio. The novelty of the study lies in a comprehensive study and analysis of the artistic work of English director Peter Brook in the context of the specifics of his theater studio. Conclusions. Although Brooke's ideas are not always innovative - most of them were borrowed from his avant-garde contemporaries, his extraordinary talent lies in his unique ability to represent these ideas on stage, experimenting with the very nature of theater. His use of innovative methods of interpreting the classical Shakespearean text and the experience of avant-garde trends in European theater contributed to the formation of a new canon, representative of which were such components of theatrical performance as scenography, mise-en-scène, light score, musical design, and acting. P. Brooke's directorial works clearly represent modern culture – a network of branched symbols or interpretations, in which the director interprets the realities of the classical text, agreeing only with his own rules.

Key words: theater, director, Peter Brook, creative workshop, actor.