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Kaufman,Elliott《Numbers Everywhere》作品简介与读书感悟

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PeterBrook彼得布鲁克的&34;在今天的剧院中无处不在Restlesslycreative,thegreatdirector–whohasdiedaged97–hadanunparallele

Peter Brook彼得布鲁克的&34;在今天的剧院中无处不在

Restlessly creative，the great director – who has died aged 97 – had an unparalleled ability to conjure a gleaming theatrical image这位享年 97 岁的伟大导演不断创新，拥有无与伦比的能力，老舍简介及作品简介，可以召唤出闪闪发光的戏剧形象，

Kaufman,Elliott《Numbers Everywhere》作品简介与读书感悟

Brook was also – and this is rarer than one would think – an intensely musical director. His cut-to-the-quick Magic Flute with piano and a cast of nine，which I saw in 2011，caught the gossamer lightness of Mozart’s writing and exuded impish joie de vivre. Brook displayed a similarly restless creativity that was fully Mozartian，as well as the skill of switching from ebullience to grave seriousness in a flash. Brook also had the peculiar showman’s art that made it all seem artless. When I interviewed Estienne in 2015，she told me his actors – usually in their 30s and 40s – found the demands of endless rehearsal exhausting，but Brook himself never did.

文中描写的中心人物是一个地下党员的女儿.当时国民党反动派残酷地逮捕屠杀地下党员,白色恐怖笼罩着重庆上空.这姑娘的父亲因党组织遭到破坏而离开了家.母亲也因受到追踪特务的殴打而吐了血,然而,这位小姑娘不像一般孩子那样惊惶。

布鲁克也是——这比人们想象的要更罕见的——一位音乐感很强的导演。我在 2011 年看到的那首带有钢琴和九人演员阵容的快速魔笛，抓住了莫扎特写作的游丝轻盈，并散发出顽皮的生活乐趣。布鲁克表现出同样躁动的创造力，完全是莫扎特式的，以及一瞬间从热情转向严肃的技巧。布鲁克还拥有让这一切看起来毫无艺术气息的奇特表演艺术。当我在 2015 年采访 Estienne 时，她告诉我他的演员——通常是 30 多岁和 40 多岁的演员——发现无休止的排练让他们筋疲力尽，但布鲁克本人从来没有这样做过。

1、处在社交圈中是一种烦恼，而超脱出来简直是一场悲剧。2、厌倦，就是一个人吃完盘子里的食物后对盘子的感情。3、参加追悼会的程序常常是，先受一次深刻的人生教育，然后大家一起抽烟喝酒打牌。4、知识是一种使求知者。

Kaufman,Elliott《Numbers Everywhere》作品简介与读书感悟

Battlefield (2015)，based on The Mahabharata，flickered in focus for me: at times thrillingly clear，at times gnomic to the point of obscurity. The Prisoner，which came to London in 2018，was purportedly based on an encounter from Brook’s own life four decades before，it felt both out of time and out of joint，particularly in its portrayal of themes such as incestuous rape and colonialism. But for anyone to maintain a 70-year-plus career in the theatre，let alone one that changed directions as often as Brook’s did，is astonishing. Brook seemed to have hung on to his youth partly via his involvement with younger theatre-makers. As well as being a generous collaborator，he welcomed a steady stream of acolytes to the Bouffes du Nord and in his later years became a visiting elder statesman at London’s Young Vic. Dog-eared copies of his book The Empty Space may no longer be a must-have accessory for wannabe directors (and thank goodness for that，Brook might have said)，but his influence is all around: in the hectic inventiveness of Complicité，the stripped-back essentialism of Cheek by Jowl，as well as in the styles of theatre-makers as varied as Marianne Elliott，Robert Icke，Emma Rice and Ivo van Hove.

十篇中《狗·猫·鼠》《阿长与<山海经>》《二十四孝图》《五猖会》《无常》《从百草园到三味书屋》《父亲的病》七篇,为回忆童年生活,让读者看到鲁迅先生故乡的民俗风情,也见到当时人心世道。《琐记》《藤野先生》《范爱农》乃人生怀。

One of my last encounters with Brook came in 2015，at the Bouffes’. The cast had taken their bows，the audience begun to scatter. I was up in the gods when I spotted Brook far below. He’d been hanging back in the shadows; I was told later that he wasn’t meant to be in that night. But he couldn’t resist popping by to see how the show was getting on. I watched him being guided gently through the proscenium arch to give the actors notes. A few soft words of advice and he’d be gone.我与布鲁克的最后一次相遇是在 2015 年，在 Boffes'。演员们已经鞠完躬，观众开始分散。当我在远处发现布鲁克时，我在众神之中。他一直躲在阴影里；后来有人告诉我，他不应该出现在那个晚上。但他忍不住跑过来看看节目进展如何。我看着他被轻轻地引导通过舞台拱门给演员们做笔记。给了几句温和的忠告，然后就离开了。

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