THE EMPTY SPACE ... Peter Brook AWARDs founded by Blanche Marvin in 1989
and held at the National Theatre Studio (the awards’ new home), were created
out of a need to raise the profile of the fringe theatre. It is from the fringe
that a creative and experimental energy evolves, acting as a training ground
for all categories of theatre talent: writers, actors, directors, designers,
publicists, production and administration personnel. It is a place open to new
talent.
The Empty Space…Peter Brook Awards are presented annually by Blanche Marvin’s
London TheatReviews with the V and A Theatre Collections and newly added
National Theatre Studio. They are awarded for a body of work and in recognition
of the pioneering concepts/innovations in the spirit of Peter Brook, achieved
by venues that perform in smaller theatre spaces (200 seats or less) and
receive little or no public funding.
The Empty Space…Peter Brook Awards are the only awards that support studio
venues and not the individual.
Award Categories
Established Studio Award and Up-and-Coming Studio Award
There are two categories of studio awards: the established studio and the
up-and-coming studio. Both of these include regional as well as fringe
theatres. The awards are given for a body of work to established studios with
experienced artistic directors and to up-and-coming studios with experienced or
new artistic directors struggling for recognition.
Dan Crawford Pub Theatre Award
This award, named in honor of Dan Crawford who founded the King’s Head Pub
Theatre, is given for a body of work to a ground-breaking pub theatre.
Judges for the Established Studio Award, Up-and Coming Studio Award and the Dan
Crawford Pub Theatre Award are: Lyn Gardner (The Guardian), Fiona Mountford
(Evening Standard), Samantha Marlowe (The Times), Dominic Cavendish (The
Telegraph), Mark Shenton (Sunday Express) and Blanche Marvin (London
TheatReviews).
Mark Marvin Rent Subsidy Award
The Mark Marvin Rent Subsidy Award has been set up for gifted visiting
companies to present their work in London at a studio theatre that could not
afford to book them. The subsidy assists in paying the weekly theatre rentals,
all too often the principal barrier to London performances. These monies are
given jointly to the visiting company and the London studio theatre.
Peter Brook/Equity Ensemble Award
The Peter Brook/Equity Ensemble Award addresses the need to preserve actors in
relationship to theatre venues. The repertory theatre has died and nothing has
replaced this important training ground. This award is designed to help support
ensemble companies where this fundamental work can be done.
Judges for the Mark Marvin Rent Subsidy Award and the Peter Brook/Equity
Ensemble Award are: Thelma Holt (West End Producer), Peter Wilson (West End
Producer), Purni Morell (Head of National Theatre Studio) and Blanche Marvin
(London TheatReviews). The administrator for both of these awards is SOLT.
Consultants to the Empty Space…Peter Brook Awards are: Michael Billington (The
Guardian), Jeremy Kingston (The Times), Paul Taylor (The Independent), Susannah
Clapp (The Observer), Ruth Leon (The Lady) and Kate Bassett (Independent on
Sunday).
| Award |
Prize |
|
Established Studio Award |
£2,000(Each nominee - £350) |
| Up-and-Coming Studio Award |
£1,500 (Each nominee - £350) |
| Mark Marvin Rent Subsidy Award |
£1,500
|
| Peter Brook/Equity Ensemble Award |
£2,000
|
| Dan Crawford Pub Theatre Award |
£2,000
|
| emptySPACE AWARD...Peter Brook Award |
| Year |
London Award |
Artistic Director |
Regional Award |
Special Mentions |
| 1990 |
Gate Theatre |
Stephen Daldry |
- |
- |
| 1991 |
Gate Theatre |
Stephen Daldry |
- |
- |
| 1992 |
Bush Theatre |
Mike Bradwell |
Haymarket Leicester |
- |
| 1993 |
Orange Tree |
Sam Walters |
Glasgow Citizen |
- |
| 1994 |
Tricycle and Soho |
Nicholas Kent, Abigail Morris |
Theatr Clwyd |
- |
| 1995 |
Royal Court Theatre Upstairs |
Ian Rickson |
Traverse Theatre |
Southwark and Shared Experience |
| 1996 |
BAC |
Tom Morris |
Stephen Joseph |
Young Vic, Royal Court, Bridewell |
| 1997 |
Bush Theatre |
Mike Bradwell |
Birmingham Rep Studio |
BAC, LIFT, NT Studio |
| 1998 |
Lyric Studio |
Peter James |
Salisbury Playhouse |
Man in the Moon, London New Play Festival |
| 1999 |
Gate Theatre |
David Farr |
Oxford Stage Co |
Bridewell, Bush, Tricycle |
| 2000 |
BAC |
Tom Morris |
Lyric Belfast |
- |
| 2001 |
- |
- |
- |
PUSH 00, Arcola |
| Year |
Established Studio |
Artistic Director |
Up and Coming |
Mark Marvin Rent Subsidy Studio Theatre |
PBrook/Equity Ensemble |
Dan Crawford Pub Theatre |
| 2001 |
Watermill |
- |
Shakespeare at the Tobacco Factory - Andrew Hilton |
Gutted Film and Theatre + Old Red Lion |
- |
- |
| 2002 |
Crucible |
Michael Grandage |
Union Theatre - Sasha Regan |
Hidden Plot Theatre + Southwark |
- |
- |
| 2003 |
Pit, Barbican |
Graham Sheffield |
Finborough - Neil McPherson |
Slipstream + Union |
- |
- |
| 2004 |
Tricycle |
Nicholas Kent |
Theatre 503 Paul Higgins |
Shapeshifters + Finborough |
- |
- |
| 2005 |
The Gate |
Thea Sharrock |
Menier Chocolate Factory - David Babani |
Adverse Camber + Union |
- |
Finborough |
| 2006 |
The Orange Tree |
Sam Walters |
Scoop-Phil Wilmott |
Verb Theatre + Hackney Empire Studio |
- |
Old Red Lion Theatre |
| 2007 |
The Drum, Plymouth |
Simon Stokes |
Young Vic-David Lan |
New End Theatre+Pluto Productions |
Paines Plough |
Bush Theatre |
| 2008 |
Royal Court |
Dominic Cooke |
Union Theatre - Sasha Regan |
Hackney Empire Studio + Angle Company |
BAC |
Finborough Theatre |
| 2009 |
Forest Fringe |
Andy Fields/Deborah Pearson |
Not awarded |
Oval Theatre |
Fuel Theatre Co |
Cock Tavern, Kilburn |
Special Mention: National Theatre, National Theatre of Scotland, Paines
Plough, Forest Fringe, Artichoke.
PETER BROOK’s SPEECH at the Empty Space... Peter Brook Awards 2008
Not long ago, a distinguished critic – perhaps he’s here today – wrote, after I
brought a new production to London « When we came into the theatre we saw an
empty space. YAWN!” I always take critics seriously yet here we are again
giving awards to empty spaces. It’s surely time to take a new look at these two
simple words. At first, they seemed to apply to the place where we play, our
play-ground. Tradition and long standing habits had filled this with clutter,
too much imagery, too many decorations, an excess of furniture and props. They
clogged the imagination. Emptiness was a starting point, not for its own sake,
but to help to discover each time what was really essential to support the
richness of the actor’s words and presence. Today, this battle has largely been
won, although electronic shapes and sounds are now eager to rush in. But the
clutter is more hidden, it’s within the themes themselves – and within the
actor. Anger, violence, hysteria, disgust and despair – these are so real that
they must be expressed, powerfully, passionately. But light on a jet black
screen only reflects blackness. It’s in the negative that an empty space has to
be found. Today, emptiness is an uncomfortable challenge to the director and
the writer, as well as to the actor. Can a space be left open, beyond all one
thinks, believes and wishes to assert? Every page of Beckett’s plays is
lightened with brackets enclosing the word ‘Pause’. Chekhov indicated the space
in which the inexpressible could appear with three dots. And Shakespeare
surrounded every line with space. Theatre exists so that the unsaid can
breathe, can be heard and a quality of life can be sensed that gives a motive
to the endless struggle. The finest expression of emptiness is silence. There
are rare moments in theatre when a deep feeling shared by actors and audience
draws all into a living silence. This is the rare, the ultimate empty space.
Peter Brook, Paris, 4.11.08