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t's April in a pre-Cultural Glasgow. Peter Brook is in town with his elemental. bare bones version of Bizet‘s La Tragédie (1e Carmen. while Methuen is launching the paperback edition of his compelling collection 1 ofessays, The Shifting Point. Upstairs in Tramway's hospitality suite, the Methuen press officer buzzes about with the kind of frenetic friendliness unique to PR people. By contrast. the 64 year—old Brook chats quietly, his fragile blue eyes calm and thoughtful. his benign smile patient on home grgund and snatch a sneak and relaxed. Would he. wondersthe press officer preview of La Tan/“3m. _ I _; _ I With enthusiastic reverence. like to say a few . words to the assembled guests? llis reply is simple, modest and comically honest.
‘No.‘
Eighteen months on and Peter Brook‘s beam is even broader. his air ofcalm even more assured. As we enter the book-littered office in Les Bouffes Du Nord. his adopted Parisian theatre. he picks up a large. circular. black box to which a
In anticipation of PETER BROOK‘s , third visit to Glasgow. Mark Fisher i jet-sets to Paris to meet the director
‘ux.
W’IW I;
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6 'l he list 26 October — 8 November 1991!