| Peter Brook |
 Peter Brook was born in London in 1925. He directed his first play there in 1942 and then went on to direct over eighty productions in London, Paris and New York. His work with the Royal Shakespeare Company includes Love’s Labour’s Lost, Measure for Measure, Titus Andronicus, King Lear, Marat/Sade, US, A Midsummer Night’s Dream, and Antony and Cleopatra. In 1971, he founded the International Centre for Theatre Research in Paris and in 1974, opened its permanent base in the Bouffes du Nord Theatre. There, he directed Timon of Athens, The Ik, Ubu aux Bouffes, Conference of the Birds, L’Os, The Cherry Orchard, The Mahabharata, Woza Albert!, The Tempest, The Man Who, Qui est là?, O! les Beaux Jours, Je suis un Phénomène, Le Costume, The Tragedy of Hamlet, Far Away, La Mort de Krishna, Ta Main dans la Mienne, Le Grand Inquisiteur, Tierno Bokar, and Sizwe Banzi is dead – many of these performed both in French and English. In opera, he directed La Bohème, Boris Godounov, The Olympians, Salomé and Le Nozze de Figaro at Covent Garden; Faust and Eugene Onegin at the Metropolitan Opera House, New York, La Tragédie de Carmen and Impressions of Pelleas, at the Bouffes du Nord, Paris and Don Giovanni for the Aix en Provence Festival. Peter Brook’s autobiography, Threads of Time, was published in 1998 and joins other titles including The Empty Space (1968) – translated into over 15 languages, The Shifting Point (1987), There are No Secrets (1993), Evoking (and Forgetting) Shakespeare (2002). His films include Lord of the Flies, Marat/Sade, King Lear, Moderato Cantabile, The Mahabharata and Meetings with Remarkable Men. 11 and 12 Perfomance prepared inside the “Masters in Residence” programme ADAPTED BY: Marie-Hélène Estienne DIRECTED BY: Peter Brook MUSIC BY: Toshi Tsuchitori LIGHT DESIGN: Philippe Vialatte COSTUMES: Hélène Patarot WITH: Makram J. Khoury, Tunji Lucas, Jared McNeill, Khalifa Natour, Abdou Ouologuem, César Sarachu , Maximilien Seweryn STAGE MANAGER: Arthur Franc. Eleven and Twelve describes the life and teaching of a humble and extraordinary man who was Amadou Hampaté Bâ’s master. His story draws us deep into an Africa that is traditional, animist, impregnated with Islam, shaken by colonialism and torn apart of internal strife. Starting with a tiny disagreement over the meaning of the number 11 as opposed to the number 12 merciless conflicts arise that lead to massacres, to martyrdom. These tragic events create a chain that eventually links a small African village to the highest political decisions of the Second World War. Peter Brook
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