Whenever she said 'Shakespeare', she bowed her head, and she had actually taken the coach to Stratford-upon-Avon in 1970 to see Peter Brook's legendary white-box production of A Midsummer Night's Dream.
Jeanette Winterson, Why Be Happy When You Can Be Normal? (New York: Grove Press, 2011), p. 123.
The set was a three-sided white box; it was described by different critics as a gym, a clinic, a squash court and a circus tent. There were slits in the side walls and two doors in the back, with a catwalk around the top . . ..
The white box was a machine for acting in. It was lit with bright white light. . . .
Brook rejected stage illusion: the actors never hid the fact that they were actors performing.
Albert Hunt & Geoffrey Reeves, Peter Brook (Cambridge: Cambridge U. Press, 1995), pp. 144-45