Word: brooked
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Dates: during 1960-1969
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...scheme of those who created it (abbreviate Weiss/Brook). Sired by Brecht, Artaud, Genet and Pirandello, conceived by the German filmmaker and novelist Peter Weiss, translated by Geoffrey Skelton, set to music by R. C. Peaslee, and delivered in London and New York by the Royal Shakespeare Company's Peter Brook, the play is not one man's play open to interpretation by other men. It is an anthology of the century's predominant dramatic modes, and arrived at the Touraine interpreted and orchestrated, and largely choreographed and staged, by the above corporation...
...play's success depends on the rhythm and fluidity of the action it presents. Brook's production never lagged, but kept things moving almost frenetically by means of sudden racket from the periphery, the rhythmic scurrying of the patients, mime, song, dance, a plentiful use of props, masks, and brilliant physical gadgetry -- and above all, a sheer sense of pace that never allowed either the leads or the audience to breathe or reflect. David Wheeler's Boston version inherits most of Weiss/Brook's inspiration and contributes a little of its own. The play "breathes." Marat (Clinton Kimbrough) hunkers...
...draft board not only that he is "conscientiously opposed to participation in war in any form," but also that he believes in a "Supreme Being." Many belong to the "peace churches," which sprang up after the Reformation and which, though their explanations are often more complex, in effect brook no compromise with the commandment "Thou shalt not kill." One faith, Jehovah's Witnesses, deems it a sin to have anything to do with conscription on grounds that each of its members is a minister and would be barred by national service from preaching; approximately 5,000 Witnesses went...
...London, Peter Brook's Royal Shakespeare Company opened at the Aldwych Theatre with a jazzy, quasi-musical melange of mixed authorship called US. The title stands for U.S., as well as us, meaning the British; but the show plays more like Marat / Sade Goes to Viet Nam. In a series of unrelated psychedelic scenes, it portrays America's role in the war as hypocritical at best, barbarian at worst...
...Director Brook explains that he is not taking sides on the morality of the war. His concern, he says, is for the Englishmen whose life is ipso facto affected by U.S. foreign policy. "Here you have the basic conflict that is at the root of all drama. The Englishman is concerned about Viet Nam - and that is a lie, because he isn't. And he's not concerned about Viet Nam - and that is a lie, because he is." How the Englishmen felt about US, however, was not quite so ambiguous. The first-night audience responded with...