Hartford Courant (Sunday) - - Arts -

which con­sciously chal­lenged the con­ven­tions and tra­di­tions of how clas­si­cal drama is staged.

If his fame was only by as­so­ci­a­tion, it would be se­cure. Brook worked with John Giel­gud, Frances de la Tour and Paul Scofield and Lau­rence Olivier. He guided Glenda Jack­son, Ben Kings­ley and Pa­trick Stewart early in their ca­reers. Sal­vador Dali de­signed Brook’s Royal Opera House pro­duc­tion of “Salomé.”

A more re­cent fa­mous col­league is Tarell Alvin McCraney, who acted with Brook’s com­pany be­fore he be­came an award-win­ning play­wright and the head of the play­writ­ing de­part­ment at the Yale School of Drama. McCraney has been a con­sul­tant on “The Pris­oner.”

At the age of 93, Peter Brook re­fuses to rest on lau­rels, con­tin­u­ing to chal­lenge him­self, his ded­i­cated col­lab­o­ra­tors and his au­di­ences.

In a wide-rang­ing con­ver­sa­tion re­cently at the apart­ment build­ing where Brook is stay­ing while “The Pris­oner” is in New Haven, Brook held forth on theater and life. sitting there, dis­cov­er­ing lay­ers and lay­ers of him­self that you couldn’t dis­cover. The great in­vis­i­ble. The great un­known.

“In this play, he is told early on ‘Noth­ing will pre­vent you if you just want to get up

“In ‘The Pris­oner,’ the two warders come in and tell vul­gar jokes. Hu­mor is es­sen­tial. It’s the great Shake­spearean model.”

“In the au­di­ence, as they come into the theater, ev­ery head has pre­oc­cu­pa­tions that are dif­fer­ent from all the other peo­ple. The play­wright or the di­rec­tor must



Leg­endary theater di­rec­tor Peter Brook.

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