The creative method of Peter Brook (three "Storms")

The subject of the study is the peculiarities of Peter Brook's directorial method, examined through his productions of William Shakespeare's play "The Tempest" (1957, 1968, 1990). The article is dedicated to analyzing the principles of the director's work with the playwright's text, stage space, and actors in the context of time. Each performance marks a stage in Brook's creative evolution: from a theater dominated by visual imagery, he immerses himself in a laboratory experience exploring the possibilities of actors, then utilizes the opportunities of play theater and improvisation within different cultural spaces. Here, a persistent characteristic of style emerges – a rejection of a fixed system of techniques in favor of "formless premonition," following the original impulse of the author, which unfolds during rehearsals and is refracted through the individuality of the actor. The research employs a historical-cultural method, allowing for the reconstruction of the epoch's context that influenced the artistic appearance of the performance; a theater studies analysis of the productions is also applied, revealing the features of the actor's and director's approach to the interpretation of images. The scientific novelty of the study lies in the fact that the performances based on Shakespeare's last play are considered sequentially as a self-contained cycle-trilogy, having no less significance for Peter Brook's work than his famous productions of "Hamlet" or "King Lear." Through the comparison of the versions, a significant feature of the director's manner is uncovered – eclecticism in the use of techniques. Despite the variability of form, Brook pays close attention to the metaphysical aspect of Shakespeare's text, making the actors co-authors in realizing the playwright's main metaphor, theater as a world. This also means that Brook's theater is open to contemporary influences, other traditions, and looks for active participation from the audience, which aligns it with the Shakespearean tradition and allows it to be considered total.