Jacques Lecoq

Jacques Lecoq

Jacques Lecoq

Jacques Lecoq

Synopsis

All books in the Routledge Performance Practitioners series are carefully designed to enable the reader to understand the work of a key practitioner. They provide the first step towards critical understanding and a springboard for further study for students on twentieth century, contemporary theatre and theatre history courses. Lecoq's influence on the theatre of the latter half of the Twentieth Century cannot be overestimated. This is the first book to combine*an historical introduction to his life and the context in which he worked*an analysis of his teaching methods and principles of body work, movement, creativity, and contemporary theatre*detailed studies of the work of Theatre de Complicite and Mummenschanz*practical exercises demonstrating Lecoq's distinctive approach to actor training

Excerpt

A theatre school should not always journey in the wake of existing theatre forms. On the contrary, it should have a visionary aspect, developing new languages of the stage and thus assisting in the renewal of theatre itself.

(Lecoq 2000:162)

JACQUES LECOQ (1921-99)

When Jacques Lecoq died in 1999, world theatre lost one of its most imaginative, influential and pioneering thinkers and teachers. Compared to many of the figures featured in this series, little has yet been written about Jacques Lecoq. While this can be partly explained by that phenomenon common to many great artistic and cultural innovators of not being fully recognised until after their death, it is also because Lecoq is celebrated almost exclusively as a teacher and thinker, rather than for plays he might have written or for the productions he directed and choreographed.

Jacques Lecoq's real influence lies embodied within thousands of performers, writers, movement choreographers and theatre directors across the world who were once his students in Paris - and elsewhere - during a period of forty-two years. To a greater or lesser extent, his signature rests inscribed in the theatre these 'students' have constructed, in the performances they have made and in the plays they have written

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