Brooks/Jackson’s level Cleopatra: production and reception Brooks/Jackson’s level Cleopatra: production and reception

• Main Author: José Roberto O’Shea
• Format: Article
• Language: English
• Published: Universidade Federal de Santa Catarina 2008-04-01
• Series: Ilha do Desterro
• Subjects: English Language; English
• Online Access: http://www.periodicos.ufsc.br/index.php/desterro/article/view/7601

The influence which current views on dramatic theory and
 technique have exercised upon theatrical productions has long been the object of scholarly inquiry. Peter Brook’s The Empty Space (1968; rpt. 1990), for instance, can be a helpful tool in the study of Brook’s own 1978 Royal Shakespeare Company production of Antony and Cleopatra,
 with Glenda Jackson and Alan Howard in the title roles. The production followed by eight years the now legendary “circus” Midsummer Night’s Dream which Brook had staged for the RSC in 1970, and reviewers were virtually unanimous in praising the production’s innovative, swiftly-paced set. The influence which current views on dramatic theory and
 technique have exercised upon theatrical productions has long been the object of scholarly inquiry. Peter Brook’s The Empty Space (1968; rpt. 1990), for instance, can be a helpful tool in the study of Brook’s own 1978 Royal Shakespeare Company production of Antony and Cleopatra,
 with Glenda Jackson and Alan Howard in the title roles. The production followed by eight years the now legendary “circus” Midsummer Night’s Dream which Brook had staged for the RSC in 1970, and reviewers were virtually unanimous in praising the production’s innovative, swiftly-paced set.