Hunger and Thirst

We are implying to a working man that theatre is part of Culture—that is to say, part of the big new hamper of goods now available to everyone. Behind all attempts to reach new audiences there is a secret patronage—‘you too can come to the party’—and like all patronage, it conceals a lie. The lie is the implication that the gift is worth receiving. Do we truly believe in its worth? When people, whose age or class has kept them away from theatres, are lured into them, is it enough to give them ‘the best?’

This can never really change so long as culture or any art is simply an appendage on living, separable from it and, once separated, obviously unnecessary. Such art then is only fought for by the artist to whom, temperamentally, it is necessary, for it is his life. In the theatre we always return to the same point: it is not enough for writers and actors to experience this compulsive necessity, audiences must share it, too. So in this sense it is not just a question of wooing an audience. It is an even harder matter of creating works that evoke in audiences an undeniable hunger and thirst.
— Peter Brook, The Empty Space