It's no exaggeration to claim that Peter Brook is one of the most influential theater directors of the latter half of the last century. The English-born theater maker, and established filmmaker in his own right, is internationally hailed, revered even by some, as a kind of guru whose work is a constant search for the essence of theater. His 1968 book The Empty Space is a seminal work of theater analysis, and his productions for the Royal Shakespeare Company in the 1960s and 1970s (Marat/Sade, King Lear, and A Midsummer Night's Dream) are celebrated for their groundbreaking innovation.
Since then, he's developed and staged a series of adventurous productions around the globe. In New York City, Brook's experimental staging of The Tragedy of Carmen re-lit and revitalized Lincoln Center's Vivian Beaumont Theater in 1983, and in 1987, his elemental nine-hour production The Mahabharata, based on the ancient multi-volume Sanskrit epic from India, restored life to a long-defunct movie theater in Brooklyn.
That venue, now the BAM Harvey Theater, has been an integral part of the Brooklyn Academy of Music's arts programming ever since. It's to this same stage that the 91-year-old director brings his latest, Battlefield, a small-scale production featuring four actors and a drummer, which is also based on the classic Indian text that inspired him three decades ago. When I reached Brook by phone earlier this month, he spoke from his office at the Théâtre Bouffes du Nord, his home base in Paris since the mid-'70s.