Peter Brook (1925–2022) was one of the most influential and important figures in twentieth-century theatre. Outstanding in a career full of remarkable achievements were his productions of Titus Andronicus (1955) with Laurence Olivier, King Lear (1962) with Paul Scofield, and The Marat/Sade (1964) and A Midsummer Night's Dream (1970), both for the Royal Shakespeare Company.After moving to Paris and establishing the International Centre for Theatre Research in 1970 and the International Centre for Theatre Creation when he opened the Bouffes du Nord in 1974, he produced a series of events which pushed at the boundaries of theatre, such as Conference of the Birds (1976), The Ik (1975), The Mahabharata (1985) and The Tragedy of Carmen (1981) to name but a few.His films include Lord of the Flies (1963), King Lear (1970), The Mahabharata (1989), Tell Me Lies (restored 2013) and Meetings with Remarkable Men (restored 2017).His hugely influential books, from The Empty Space (1968) to The Quality of Mercy (2013), Tip of the Tongue (2017) and Playing by Ear (2019), have been published in many languages throughout the world.

'Incisive and perceptive… gives readers a unique opportunity to enter the mind of one of the most imaginative and enduring theatre directors of the last three-quarters of a century. It functions as a meditation on music and sound but also provides pleasant reminders of the life and career of an indisputably great man'

Peter Brook (1925–2022) was one of the most influential and important figures in twentieth-century theatre. Outstanding in a career full of remarkable achievements were his productions of Titus Andronicus (1955) with Laurence Olivier, King Lear (1962) with Paul Scofield, and The Marat/Sade (1964) and A Midsummer Night's Dream (1970), both for the Royal Shakespeare Company.After moving to Paris and establishing the International Centre for Theatre Research in 1970 and the International Centre for Theatre Creation when he opened the Bouffes du Nord in 1974, he produced a series of events which pushed at the boundaries of theatre, such as Conference of the Birds (1976), The Ik (1975), The Mahabharata (1985) and The Tragedy of Carmen (1981) to name but a few.His films include Lord of the Flies (1963), King Lear (1970), The Mahabharata (1989), Tell Me Lies (restored 2013) and Meetings with Remarkable Men (restored 2017).His hugely influential books, from The Empty Space (1968) to The Quality of Mercy (2013), Tip of the Tongue (2017) and Playing by Ear (2019), have been published in many languages throughout the world.

'Incisive and perceptive… gives readers a unique opportunity to enter the mind of one of the most imaginative and enduring theatre directors of the last three-quarters of a century. It functions as a meditation on music and sound but also provides pleasant reminders of the life and career of an indisputably great man'

Peter Brook (1925–2022) was one of the most influential and important figures in twentieth-century theatre. Outstanding in a career full of remarkable achievements were his productions of Titus Andronicus (1955) with Laurence Olivier, King Lear (1962) with Paul Scofield, and The Marat/Sade (1964) and A Midsummer Night's Dream (1970), both for the Royal Shakespeare Company.After moving to Paris and establishing the International Centre for Theatre Research in 1970 and the International Centre for Theatre Creation when he opened the Bouffes du Nord in 1974, he produced a series of events which pushed at the boundaries of theatre, such as Conference of the Birds (1976), The Ik (1975), The Mahabharata (1985) and The Tragedy of Carmen (1981) to name but a few.His films include Lord of the Flies (1963), King Lear (1970), The Mahabharata (1989), Tell Me Lies (restored 2013) and Meetings with Remarkable Men (restored 2017).His hugely influential books, from The Empty Space (1968) to The Quality of Mercy (2013), Tip of the Tongue (2017) and Playing by Ear (2019), have been published in many languages throughout the world.

'Incisive and perceptive… gives readers a unique opportunity to enter the mind of one of the most imaginative and enduring theatre directors of the last three-quarters of a century. It functions as a meditation on music and sound but also provides pleasant reminders of the life and career of an indisputably great man'