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2 by Dr Brian McFarlane Peter Brook’s Lord of the Flies and the Darkness of Man’s Heart 3 Peter Brook: Man of the Theatre There have been few more provocative and exciting stage directors than Peter Brook. Born in London in 1925, he had cosmopolitan roots, his parents being Russian Jews from Latvia, who emigrated to Britain just before the outbreak of World War One. His father had been a political firebrand as a young man, and, when he and his wife settled in London, he worked as an electrical engineer while she had work deriving from her degree in chemistry. Brook’s mother’s culture was essentially German, while his father’s was primarily Russian. There is a great deal more that might be said about how this couple found their place in London, in the middle-class riverside suburb of Chiswick, but suffice it to say there is in their story some vestigial accounting for the maverick path their son would carve out in theatre and film. When his theatrical career got underway in the mid-1940s, he tended to be associated with the plays of such European giants as Jean Cocteau, Henrik Ibsen, Jean-Paul Sartre and Jean Anouilh, though there is also substantial work in the classics, notably Shakespeare, in opera, and with new names of the British theatre, such as Christopher Fry and John Arden. He may have come into London theatre at a rather staid time of its development, but when he was done with it was considerably less so. He would pursue his iconoclastic way for sixty years. No one who saw it is likely to forget his gymnasium-set A Midsummer Night’s Dream (1970-71), in which fairy glades of the forests outside Athens are replaced by bare white walls and trapeze bars. It was a startlingly original – and revelatory – take on a play too often played for mere ‘charm’ at the expense of its essential cruelties. [1] By the early 1960s, after fifteen years of the most demanding challenges and solid achievement, he claimed he was ‘fed up’ with the theatre, and turned his attention to the prospect of filming an adaptation of William Golding’s novel, Lord of the Flies . Brook’s biographer, Michael Kustow, quotes the then-influential critic, Kenneth Tynan, as urging Brook, “You should make a film of this”, and goes on to say that “Golding’s dystopian fable electrified Brook”. [2] Let’s look at Golding’s book and consider what might have attracted Brook to it. William Golding’s Uncompromising Vision For decades, every school and university student knew Lord of the Flies not just as an exciting adventure story, but primarily as an allegory of – and warning for – our times. In light of its huge popular and critical success, it is now hard to believe that it was nearly not published at all, when a reader at London’s Faber dismissed it
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