Desperate Times is the brilliant and unfl inching new collection of sketches of contemporary political life by The Times's master of satire, Peter Brookes. Within these pages, the multiple winner of the British Press Awards Cartoonist of the Year showcases the standout pieces from his political cartoons in The Times, up to the minute and breathtaking in their bite and wit. Cataloguing two of the most turbulent years on record, Desperate Times provides an unsparing critique of political leaders and events at home and abroad. From Brexit and Megxit to Trump's departure and the arrival of the Covid-19 pandemic, this collection of exquisitely crafted cartoons provides vivid proof, were it needed, that we are indeed living through desperate times.

Found-footage adventure thriller, as a team of explorers in the Congolese jungle chance upon a colony of dinosaurs. Richard Dillane and Matt Kane star as a father and son team who, along with a TV crew, set off to search for a mythical water creature rumoured to be existing in the African jungle. But soon after embarking on their expedition, the group's objectives change dramatically when their helicopter is forced to crash land by a flock of prehistoric birds. As they begin to explore their new surroundings, they soon realise that they've stumbled upon an area where dinosaurs still exist, and that unless they can find a way out, they'll be the ones facing extinction.

This book throws new light on the impact of informal 'old boy' networks on British decolonisation. Duncan Sandys was one of the leading Conservative politicians of the middle decades of twentieth-century Britain. He was also a key figure in the Harold Macmillan's 'Winds of Change' policy of decolonisation, serving as Secretary for the Colonies and Commonwealth Relations from 1960 to 1964. When he lost office he fought strenuously to undermine the new Labour Government's attempts to accelerate colonial withdrawal and improve race relations in Britain. Sandys developed important private business interests in Africa and intervened personally through both public and official channels on the question of Rhodesia, Commonwealth immigration and the 'East of Suez' withdrawal in the late 1960s. This book will appeal to students of decolonisation and twentieth-century British politics alike.

'Listen!' In this collection of new essays, the world-renowned director Peter Brook offers unique and personal insights into sound and music - from the surprising impact of Broadway musicals on his famous Midsummer Night's Dream, to the allure of applause, and on to the ultimate empty space: silence. It is studded throughout with episodes from the author's own life and career in opera, theatre and film - including working on many of his most notable productions, and intimate first-hand accounts of collaborating with leading figures including Truman Capote, Laurence Olivier and Vivien Leigh - and ranges across musical styles and cultures from around the world. Playing by Ear is full of Brook's shafts of insight and perception, and written with his customary wit and wisdom. It is a rich companion to his earlier reflections on Shakespeare in The Quality of Mercy and on language and meaning in Tip of the Tongue.

From director and cofounder of the Royal Shakespeare Company Peter Brook, "The Empty Space" is a timeless analysis of theatre from the most influential stage director of the twentieth century.
As relevant as when it was first published in 1968, groundbreaking director and cofounder of the Royal Shakespeare Company Peter Brook draws on a life in love with the stage to explore the issues facing a theatrical performance--of any scale. He describes important developments in theatre from the last century, as well as smaller scale events, from productions by Stanislavsky to the rise of Method Acting, from Brecht's revolutionary alienation technique to the free form happenings of the 1960s, and from the different styles of such great Shakespearean actors as John Gielgud and Paul Scofield to a joyous impromptu performance in the burnt-out shell of the Hamburg Opera just after the war.
Passionate, unconventional, and fascinating, this book shows how theatre defies rules, builds and shatters illusions, and creates lasting memories for its audiences.

Torrid Times is the terrifyingly funny new collection of cartoons by The Times's master satirist, Peter Brookes. Brookes, multiple winner of the British Press Awards Cartoonist of the Year, dissects contemporary political life like a mad surgeon in these, the finest of his opinion-page cartoons from The Times, each up to the minute and breathtaking in its bite and wit. Torrid Times deftly sends up our troubled era, brilliantly describing the mess the world is in whilst mercilessly lampooning those who made it that way. Hilarious and beautifully crafted, these cartoons are, as always, the sumptuous evidence of a genius at work.

A thoughtful and deeply personal book by a master theatre-maker. In Tip of the Tongue, Peter Brook takes a charming, playful and wise look at topics such as the subtle, telling differences between French and English, and the many levels on which we can appreciate the works of Shakespeare. Brook also revisits his seminal concept of the 'empty space', considering how theatre - and the world - have changed over the span of his long and distinguished career. Threaded throughout with intimate and revealing stories from Brook's own life, Tip of the Tongue is a short but sparkling gift from one of the greatest artists of recent times.

In The Quality of Mercy, one of the world's most revered theatre directors reflects on a fascinating variety of Shakespearean topics. In this sequence of essays, Peter Brook debates such questions as who was the man who wrote Shakespeare's plays, why Shakespeare is never out of date, and how actors should approach Shakespeare's verse. He also revisits some of the plays which he has directed with notable brilliance, such as King Lear, Titus Andronicus and, of course, A Midsummer Night's Dream. Taken as a whole, this short but immensely wise book offers an illuminating and provocative insight into a great director's relationship with our greatest playwright. 'An invaluable gift from the greatest Shakespeare director of our time... Brook's genius, modesty, and brilliance shine through on every page' James Shapiro, author of 1599: A Year in the Life of William Shakespeare

Critical Times is the brilliant new collection of acerbic sketches of contemporary political life by The Times's master of satire, Peter Brookes. Brookes, multiple winner of the British Press Awards Cartoonist of the Year, here showcases the stand-out pieces from his opinion-page cartoons in The Times, each up to the minute and breathtaking in its bite and wit. Critical Times subjects our political overlords to the most brutal of roastings, ridiculing those who profess to lead us and holding the mighty to account. Always hilarious and beautifully crafted, these cartoons - from Brexit to Trump, and back again - are the sumptuous evidence of a contemporary genius at work. Seen through the mind of Peter Brookes evidence that we are indeed living through critical times.

Somewhere in the world, a man sits alone outside a prison. Who is he, and why is he there? Is it a choice, or a punishment? With The Prisoner, the internationally renowned theatre director Peter Brook and his long-time collaborator Marie-Helene Estienne ask provocative and profound questions about justice, guilt, redemption - and what it means to be free. The Prisoner opened at Theatre des Bouffes du Nord, Paris, in March 2018, before an international tour which included performances at the Edinburgh International Festival, the National Theatre of Great Britain, and Theatre for a New Audience in New York. 'The most pioneering theatre director of the twentieth century' Independent on Peter Brook

Against the historical backdrop of the French expedition in 1840 to retrieve Napoleon's body from Saint Helena, two men and a woman find themselves engulfed in long-dormant and dangerous political passions. Philippe de Rohan-Chabot, an aristocratic young diplomat, is charged with bringing the body from the island prison where Napoleon died to a glorious tomb at Les Invalides in Paris. Chabot's rival is the aging diplomat and author Henri Beyle, known to posterity as Stendhal. The enigmatic and impulsive Amelia Curial must free herself from the shadow of her mother's scandalous loves and untimely death, and from the life of stale convention that her family urges upon her. The dead emperor is a token in a political game to appease the enemies of the monarchy, but that gamble imperils the king's rule and a new revolution looms. Meanwhile, the interplay of the three central characters traces a delicate pattern of romance, longing, misunderstanding, and the obstacles to the pursuit of happiness.

This book throws new light on the impact of informal 'old boy' networks on British decolonisation. Duncan Sandys was one of the leading Conservative politicians of the middle decades of twentieth-century Britain. He was also a key figure in the Harold Macmillan's 'Winds of Change' policy of decolonisation, serving as Secretary for the Colonies and Commonwealth Relations from 1960 to 1964. When he lost office he fought strenuously to undermine the new Labour Government's attempts to accelerate colonial withdrawal and improve race relations in Britain. Sandys developed important private business interests in Africa and intervened personally through both public and official channels on the question of Rhodesia, Commonwealth immigration and the 'East of Suez' withdrawal in the late 1960s. This book will appeal to students of decolonisation and twentieth-century British politics alike.

A book on the experience of reading Honore de Balzac's La Comedie humaine which recounts the process of Peter Brooks's own discovery of Balzac. A personal account of coming to terms with Balzac: moving from more classical and restrained authors to the highly-coloured melodramatic novels of the Human Comedy, which give us the dynamics of a new and challenging world on the threshold of modernity. This volume shows readers how to read, and to love reading, Balzac, and how to engage with his vast work.

The text of a talk given by renowned theatre director Peter Brook in Berlin in 1998, addressing essential questions about performing Shakespeare today. Brook invites us to consider the actual conditions of the Elizabethan theatre and the actual qualities of Shakespeare's language. Published as part of the Dramatic Contexts series: important statements on the theatre by major figures in the theatre.

"We know that it matters crucially to be able to say who we are, why we are here, and where we are going," Peter Brooks writes in "Enigmas of Identity." Many of us are also uncomfortably aware that we cannot provide a convincing account of our identity to others or even ourselves. Despite or because of that failure, we keep searching for identity, making it up, trying to authenticate it, and inventing excuses for our unpersuasive stories about it. This wide-ranging book draws on literature, law, and psychoanalysis to examine important aspects of the emergence of identity as a peculiarly modern preoccupation.

In particular, the book addresses the social, legal, and personal anxieties provoked by the rise of individualism and selfhood in modern culture. Paying special attention to Rousseau, Freud, and Proust, Brooks also looks at the intersection of individual life stories with the law, and considers the creation of an introspective project that culminates in psychoanalysis.

Elegant and provocative, "Enigmas of Identity" offers new insights into the questions and clues about who we think we are.

The constant call to admit guilt amounts almost to a tyranny of confession today. We demand tell-all tales in the public dramas of the courtroom, the talk shows and in print, as well as in the more private spaces of the confessional and the psychoanalyst's office. Yet we are also deeply uneasy with the concept: how can we tell whether a confession is true? What if it has been coerced? In "Troubling Confessions", Peter Brooks juxtaposes cases from law and literature to explore the kinds of truth we associate with confessions, and why we both rely on them and regard them with suspicion. For centuries the law has considered confession to be "the queen of proofs", yet it has also seen a need to regulate confessions and the circumstances under which they are made, as evidenced in the continuing speech a prime measure of authenticity, seeing it as an expression of selfhood that bears witness to personal truth. Yet the urge to confess may be motivated by inextricable layers of shame, guilt, self-loathing, the desire to propitiate figures of authority. Literature has often understood the problematic nature of confession better than the law, as Brooks demonstrates in perceptive readings of legal cases set against works by Rousseau, Dostoevsky, Joyce and Camus, among others. Mitya in "The Brothers Karamazov" captures the trouble with confessional speech eloquently when he offers his confession with the anguished plea: this is a confession; handle with care. By questioning the truths of confession, Peter Brooks challenges us to reconsider how we demand confessions and what we do with them.

"One of the century's most impressive theatrical manifestos" - Irving Wardle Jerzy Grotowski created the Theatre Laboratory in Opole, South-West Poland, in 1959. His work since then, with a small permanent company, became one of the most potent sources of information for modern actors and directors. This is a record of the ideas that motivated the work of the Theatre Laboratory, and of the company's methods and discoveries.In his Preface Peter Brook writes: "Grotowski is unique. Why? Because no one else in the world, to my knowledge no one since Stanislavski, has investigated the nature of acting, its phenomenon, its meaning, the nature and science of its mental-physical-emotional processes as deeply and completely as Grotowski."Grotowski's Theatre Laboratory Company was first seen in Britain at the Edinburgh Festival in 1968 and went on to international fame.

This book tests the proposition that the humanities can, and at their best do, represent a commitment to ethical reading. And that this commitment, and the training and discipline of close reading that underlie it, represent something that the humanities need to bring to other fields: to professional training and to public life. What leverage does reading, of the attentive sort practiced in the interpretive humanities, give you on life? Does such reading represent or produce an ethics? The question was posed for many in the humanities by the "Torture Memos" released by the Justice Department a few years ago, presenting arguments that justified the use of torture by the U.S. government with the most twisted, ingenious, perverse, and unethical interpretation of legal texts. No one trained in the rigorous analysis of poetry could possibly engage in such bad-faith interpretation without professional conscience intervening to say: This is not possible. Teaching the humanities appears to many to be an increasingly disempowered profession-and status-within American culture. Yet training in the ability to read critically the messages with which society, politics, and culture bombard us may be more necessary than ever in a world in which the manipulation of minds and hearts is more and more what running the world is all about. This volume brings together a group of distinguished scholars and intellectuals to debate the public role and importance of the humanities. Their exchange suggests that Shelley was not wrong to insist that poets are the unacknowledged legislators of mankind: Cultural change carries everything in its wake. The attentive interpretive reading practiced in the humanities ought to be an export commodity to other fields and to take its place in the public sphere.

This book tests the proposition that the humanities can, and at their best do, represent a commitment to ethical reading. And that this commitment, and the training and discipline of close reading that underlie it, represent something that the humanities need to bring to other fields: to professional training and to public life. What leverage does reading, of the attentive sort practiced in the interpretive humanities, give you on life? Does such reading represent or produce an ethics? The question was posed for many in the humanities by the "Torture Memos" released by the Justice Department a few years ago, presenting arguments that justified the use of torture by the U.S. government with the most twisted, ingenious, perverse, and unethical interpretation of legal texts. No one trained in the rigorous analysis of poetry could possibly engage in such bad-faith interpretation without professional conscience intervening to say: This is not possible. Teaching the humanities appears to many to be an increasingly disempowered profession-and status-within American culture. Yet training in the ability to read critically the messages with which society, politics, and culture bombard us may be more necessary than ever in a world in which the manipulation of minds and hearts is more and more what running the world is all about. This volume brings together a group of distinguished scholars and intellectuals to debate the public role and importance of the humanities. Their exchange suggests that Shelley was not wrong to insist that poets are the unacknowledged legislators of mankind: Cultural change carries everything in its wake. The attentive interpretive reading practiced in the humanities ought to be an export commodity to other fields and to take its place in the public sphere.

"We know that it matters crucially to be able to say who we are, why we are here, and where we are going," Peter Brooks writes in "Enigmas of Identity." Many of us are also uncomfortably aware that we cannot provide a convincing account of our identity to others or even ourselves. Despite or because of that failure, we keep searching for identity, making it up, trying to authenticate it, and inventing excuses for our unpersuasive stories about it. This wide-ranging book draws on literature, law, and psychoanalysis to examine important aspects of the emergence of identity as a peculiarly modern preoccupation.

In particular, the book addresses the social, legal, and personal anxieties provoked by the rise of individualism and selfhood in modern culture. Paying special attention to Rousseau, Freud, and Proust, Brooks also looks at the intersection of individual life stories with the law, and considers the creation of an introspective project that culminates in psychoanalysis.

Elegant and provocative, "Enigmas of Identity" offers new insights into the questions and clues about who we think we are.

Adapted from a series of four lectures, originally delivered as the first of the Granada Northern Lectures Peter Brook's The Empty Space is an exploration of four aspects of theatre, 'Deadly, Holy, Rough and Immediate', published in Penguin Modern Classics. 'I can take any empty space and call it a bare stage' In The Empty Space, groundbreaking director Peter Brook draws on a life in love with the stage to explore the issues facing any theatrical performance. Here he describes important developments in theatre from the last century, as well as smaller scale events, from productions by Stanislavsky to the rise of Method Acting, from Brecht's revolutionary alienation technique to the free form Happenings of the 1960s, and from the different styles of such great Shakespearean actors as John Gielgud and Paul Scofield to a joyous impromptu performance in the burnt-out shell of the Hamburg Opera just after the war. Passionate, unconventional and fascinating, his book shows how theatre defies rules, builds and shatters illusions and creates lasting memories for its audiences. Peter Stephen Paul Brook CH CBE (b. 1925) is a highly influential British theatrical producer and director. During the 1950s he worked on many productions in Britain, Europe, and the USA, and in 1962 returned to Stratford-upon-Avon to join the newly established Royal Shakespeare Company. Throughout the next the 1960's he directed many ground breaking productions for the RSC before in 1970 forming The International Centre for Theatre Research in Paris. If you enjoyed The Empty Space, you might like John Berger's Ways of Seeing, also available in Penguin Modern Classics. 'A brilliant book ... should be read by the many besides the passionate few to whom it will be required reading' Daily Telegraph

From King Lear to the Tragedy of Carmen," "from Marat/Sade to the epic Mahabharata, Peter Brook has reinvented modern theatre, not once but again and again. In The Open Door the visionary director and theorist offers a lucid, comprehensive exposition of the philosophy that underlies his work.
It is a philosophy of paradoxes: We come to the theatre to find life, but that life must be different from the life we find outside. Actors have to prepare painstakingly yet be willing to sacrifice the results of their preparation. The director's most reliable tool may be his capacity to be bored. Brook illustrates these principles with anecdotes that span his entire career and that demonstrate his familiarity with Shakespeare, Chekhov, and the indigenous theatres of India and Iran. The result is an unparalleled look at what happens both onstage and behind the scenes, fresh in its insights and elegant in its prose.