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A Theatre Manifesto for the Twenties

Peter Brook wrote a theatrical vision in his “Manifesto for the Sixties”. This outline has become obsolete in the fifty years since its first appearance.  

This manifesto is intended to address the main hazards and basic misconceptions facing theatre practitioners today.

Boredom is the enemy. 

Fun is our friend.

There is nothing less impressive than people trying to be impressive. 

Innovation for the sake of innovation should be excluded. It’s pointless. 

Innovation should only be used if it solves a specific problem on the stage. 

Good quality theatre is the correct aim of theatre practitioners. 

This good quality is achieved by steady incremental improvement.  

Only this kind of progress is essential because it’s permanent.

Pace, rhythm and structure represent the foundation of compelling theatre. 

Theatre fails without honesty, candour and clarity. 

These qualities must be equally present on stage and in rehearsal rooms. 

Leaders are responsible for the consequences of their decision making. Not society, not subordinates and not audiences. 

Leaders are also responsible for the consequences of their lack of decision making.

The privileges of leadership do not extend to abuse or contempt for those they lead. 

Subordinates must respect their leaders. The leaders must do likewise. 

All practitioners should exhibit respect for their profession. They must respect each other and their audience.

Decisions should be bold and never made from fear.

However the adrenaline of fear should be used without hesitation. 

If practitioners are unable to avoid unethical or immoral behaviour they are unfit to depict ethics and morality on the stage. 

Professionalism is the manifestation of respect, competence and integrity. Practitioners must aspire to exhibit these qualities. 

Successful theatre sends a wave through the emotional life of the audience. 

This wave travels from the stage into the auditorium. The wave then returns to be sent out again until the performance is completed. 

The last wave must be given from the stage in such as way that the audience knows instinctually they are to keep it because it is the last one.