ABSTRACT
Peter Brook, in his book The Empty Space, focuses on the training of the contemporary actor in what he calls “The Deadly Theatre”; more specifically, for the great English master, “after he reaches a certain position the actor does no more homework” (Brook 1996: 32). Therefore, he continues, “building a career and artistic development do not necessarily go hand in hand” (Brook 1996: 32). The reason for this is simple because often actors who succeed in building a real career in the theatre no longer have time to undertake personal artistic research; to develop in their practice; actors need to go further and deeper, to explore “what really comes hard. But no one has time for this kind of problem” (Brook 1996: 32), and the problem remains precisely there, that is, in the time that is available for in-depth artistic research.
