Tell Me Lies (Peter Brook, 1968) or How I Learned to Start Worrying about Vietnam by Nicole Cloarec

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L’Appel du vide : l’espace vide de Peter Brook et l’épuisement beckettien by Sophie MARUÉJOULS-KOCH

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Życie i śmierć: „Moderato cantabile”. Film Petera Brooka po półwieczu by Krzysztof Lipka

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Le Songe d’une nuit d’été de Benjamin Britten : Nouvel éclairage scénique de l’héritage shakespearien by Maéna Py

“…By insisting on the sensuality and the physical dimension of the play and on its capacity to celebrate drama and all theatrical arts, Britten seems to have been at the centre of an aesthetic and ideological renewal which was to be carried on later by Jan Kott and Peter Brook, among others, thus making him an important figure in the history of the performances of Shakespeare’s masterpiece.…”
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Shakespeare revisité, entre fidélité et parodie : de La Nuit des Rois à Shake de Dan Jemmett by Isabelle Schwartz-Gastine

“…William Shakespeare himself was a master of re-writing older material as he abundantly used this technique, which was totally justified at the Renaissance, to compose his poems or plays, from various sources whether literary (prose or verse), historical, or any other—and sometimes most unusual—background.The play I am considering in this paper is a very recent re-writing in English by Dan Jemmett (Peter Brook’s son-in-law), but performed in Marie-Paul Remo’s French translation at the Vidy Theatre in Lausanne during the 2001 season. …”
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(Il)lisibilité du mélodrame américain au xixe siècle : The Gladiator (1831) de Robert Montgomery Bird et Jack Cade (1841) de Robert Conrad by Ronan Ludot-Vlasak

“…The melodramatic genre gestures towards the expression of a morally and emotionally legible world (Peter Brooks). Robert Montgomery Bird’s The Gladiator (1831) and Robert Conrad’s Jack Cade (1841)—two plays that were awarded the Edwin Forrest Prize—are no exception and champion a democratic and patriarchal ethos that echoes the political ideal fostered by Andrew Jackson. …”
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