Theatre Of Cruelty

One of the technique used is storytelling or human connection. Brook's main focus in theory is the search for beauty in simplicity; taking a bare stage and creating an entire set in your mind and acting around it, giving the audience the idea of the presence of furniture. Brook claims that the human connection is the essence of good theatre, (Theriault, S 2018, ). Brook terms the “human connection” in different methods such as directing. He states that “the supreme jujitsu” style of directing “would be for the director to stimulate such an outpouring of the actor's inner richness that it completely transforms the subjective nature of his original impulse,”( Brook, P 1968). He refers to this as non-directional directing. In order for the actor

The purpose of Theatre of Cruelty is to astound the audience , leaving them in a state of shock through the use of violent lighting, staging and acting. It was intended to place them in a new consciousness, leaving them an revelation within themselves. Brook use an exercise during his Theatre of Cruelty Workshop which involved an actor attempting to portray a certain state of emotion with using any physicality. Brook states, “we set an actor in front of us, asked him to imagine a dramatic situation that did not involve any physical movement, then we all tried to understand what state he was in. Of course, this was impossible, which was the point of the exercise” (Brook, 49). These exercises encompasses the Brook version of Theatre of Cruelty. Peter Brook put into action the ideas of Artaud through the use of physical exploration, human nature and emotions are authentically evoked. For example, the audience is more likely to sympathises with a crying women whose body is wrenching in sobs than a woman who is standing still, struggling to produce a

No longer was emphasis on the spectacle. Brook had no interest in theatre that imitated reality: “we are” he claims “more conscious of what is imitative than what is real”(Brook, 34). If the production's goal is an imitation of reality, than it will never go beyond that. Instead, Brook insists, reality itself must be the goal. In his chapter “The Holy Theatre” in The Empty Space, Brook describes this theory as the “invisible”. The “invisible” is an act of communication between actor and audience produced out of the need to impart some emotion. The audience may not consciously acknowledge the fact that they are being moved by the emotion, yet they are still moved: the invisible. Brook says “it is like crossing an abyss on a tightrope: necessity suddenly produces strange powers”(Brook, 50). Through the invisible, the actors goal is to access the “hidden impulses of man”(Brook, 71), ultimately establishing a human connection that is inherent in the