Peter Brook's Heart of Light: ‘Primitivism’ and Intercultural Theatre

Abstract

Peter Brook's work has always figured in debates over ‘intercultural’ projects in the contemporary theatre. However, the controversy has most often centred on his engagement with Asian theatrical traditions, and in particular on his production of The Mahabharata. David Moody here examines Peter Brook's writings on Africa, as theatrical ‘discourse’ with its own theoretical half-life quite distinct from actual productions. This discourse, it is argued, can be described as ‘primitivist’, in that it constructs the African audience as, in Barthes's term, ‘degree zero’ – a ‘limit-text’ to universal theatrical communication. In doing so it presents a limiting version of African theatrical traditions themselves, and, as a result, reinforces a broader, more destructive global discourse of cultural primitivism concerning African and so-called ‘indigenous’ art and performance. David Moody, who currently lectures in Theatre and Drama Studies at Murdoch University, Perth, Australia, is a playwright, actor, and director who has written extensively on African, post-colonial, and popular theatre, and is now engaged in his own problematic intercultural projects.

Spatial function of light in staging of contemporary choreography

“…Vertex intensities are then interpolated to other points on the polygonal surface (Camacho, 2019). When not only the direct illumination of the scene is taken into account, but also the secondary illumination, which is created by rays reflected or refracted from surfaces, the problem of global illumination is set (Moody, 1995). One of the main methods for solving this problem is tracing light rays using the Monte Carlo method (Fabiszak, 2018).…”