Perspective | Peter Brook was a dazzling stage explorer of humankind’s complexity

Whether you are aware of it or not, if you are a lover of what comes to vibrant life in an empty space, your experience was nourished by Brook. “The Empty Space,” in fact, is the title of his renowned book, the slim volume that has schooled generations of directors, actors, designers and audiences in the endless, adventurous possibilities of meeting in a room for the enrichment of the soul.

Brook was not contained by theories. He led by example. In 1970, he revolutionized how we saw Shakespeare by staging “A Midsummer Night’s Dream” in a white box with actors on trapezes. The Royal Shakespeare Company production expunged “limits” from the vocabulary of classical staging, a controversial service he provided again in dazzling fashion a decade later for opera, with a compressed and restructured version of Bizet’s “La Tragédie de Carmen” on carpets and sand.

Brook coined the cautionary phrase “deadly theater,” which exists as a challenge to every director and actor. Brook was both an inveterate showman — he owned Tonys for both “Marat/Sade” and “Midsummer” — and an advocate for those coming up after him, urging they not be held back by custom.

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