The Routledge Companion to Jacques Lecoq

<p><em>The Routledge Companion to Jacques Lecoq</em> presents a thorough overview and analysis of Jacques Lecoq's life, work and philosophy of theatre. Through an exemplary collection of specially commissioned chapters from leading writers, specialists and practitioners, it draws together writings and reflections on his pedagogy, his practice, and his influence on the wider theatrical environment. It is a comprehensive guide to the work and legacy of one of the major figures of Western theatre in the second half of the twentieth century. In a four-part structure over fifty chapters, the book examines: </p><ul> <p> </p> <li>The historical, artistic and social context out of which Lecoq's work and pedagogy arose, and its relation to such figures as Jacques Copeau, Antonin Artaud, Jean-Louis Barrault, and Dario Fo. </li> </ul><ul> <p> </p> <li>Core themes of Lecoq's International School of Theatre, such as movement, play, improvisation, masks, language, comedy, and tragedy, investigated by former teachers and graduates of the School. </li> </ul><ul> <p> </p> <li>The significance and value of his pedagogical approaches in the context of contemporary theatre practices. </li> </ul><ul> <p> </p> <li>The diaspora of performance practice from the School, from the perspective of many of the most prominent artists themselves. </li> </ul><p>This is an important and authoritative guide for anyone interested in Lecoq's work.</p> <p>Foreword by Geoffrey Rush</p><p>General Introduction</p><p>Mark Evans and Rick Kemp</p><p>Part I</p><p>Influences and Antecedents</p><p>Introduction </p><p>Mark Evans</p><ol> <p> </p> <li>The French Theatrical Avant Garde </li> <p>Nigel Ward (UK)</p> <p> </p> <li>Mime, ‘Mimes’ and Miming </li> <p>Vivian Appler (US)</p> <p> </p> <li>The Rediscovery of the Mask </li> <p>Gillian Arrighi (AUS)</p> <p> </p> <li>Jacques Lecoq and the Challenge of Modernist Theatre, 1945-1968</li> <p>Bruce McConachie (US)</p> <p> </p> <li>Jacques Lecoq and the Studio Tradition </li> <p>Tom Cornford (UK)</p> <p> </p> <li>Bachelard, Jousse and Lecoq </li> <p>Claudia Sachs (BRA)</p> <p> </p> <li>Space and Mimesis </li> <p>Jon Foley Sherman (US)</p> <p> </p> <li>Movement Made Visible: Marey and Lecoq</li> <p>Clare Brennan (UK)</p> <p> </p> <li>Literature, Lecoq and the ‘<i>nouveau roman</i>’ </li> <p>Pardis Dabashi (US)</p> <p> </p> <li>The Body Voice of Satire: Jacques Lecoq and Dario Fo </li> <p>Gloria Pastorino (US) </p> <p> </p> <b> </b><p>Part II</p> <p>Inspirations and Evolutions</p> <p>Introduction </p> <p>Rick Kemp</p> <p> </p> <li>The Influence of Sports on Jacques Lecoq’s Actor Training</li> <p>Mark Evans (UK) </p> <p> </p> <li>What Works and What Doesn’t Work: On Play </li> <p>Paola Coletto (IT/US) and Jennifer Buckley (US)</p> <p> </p> <li>Neutral Mask - A Life’s Journey </li> <p>Dody DiSanto (US)</p> <p> </p> <li>The Mimo-dynamics of Music, Poetry, and Short Story: Lecoq on Bartók</li> <p>Jennie Gilrain (US)</p> <p> </p> <li>Full Face Masks, Pantomime Blanche and Cartoon Mime</li> <p>David Gaines (US)</p> <p> </p> <li>Commedia Dell’Arte and Comedie Humaine </li> <p>Giovanni Fusetti (IT)</p> <p> </p> <li>The Chorus </li> <p>Shona Morris (UK)</p> <p> </p> <li>Bouffons and the Grotesque </li> <p>Bim Mason (UK)</p> <p> </p> <li>Auto-cours, Enquetes, Commandes: A Practitioner’s Perspective</li> <p>Carlos García Estévez (ES)</p> <p> </p> <li>Lecoq's Clown and its Application to Playing Shakespeare's Clowns</li> <p>Sara Romersberger (US)</p> <p> </p> <li>Laboratory of Movement Study </li> <p>Ismael Scheffler (BRA)</p> <b> </b><p>Part III</p> <p>Ricochets and reverberations</p> <p>Introduction </p> <p>Mark Evans</p> <p> </p> <li>Lecoq, Emotion and Embodied Cognition </li> <p>Rick Kemp (UK/US)</p> <p> </p> <li>The Juggernaut and the Pram: Lecoq and UK Actor Training </li> <p>Vladimir Mirodan (UK)</p> <p> </p> <li>Moving Medicine </li> <p>Suzy Willson (UK)</p> <p> </p> <li>British Movement Directors </li> <p>Ayse Tashkiran (UK)</p> <p> </p> <li>Contemporary Circus </li> <p>Mitch Mitchelson (UK)</p> <p> </p> <li>Lecoq Training and Asian Theatre Practice </li> <p>Maya Tångeberg-Grischin and Anna Thuring (SWE)</p> <p> </p> <li>Locating the Body in English Language Teaching </li> <p>Nikole Pascetta (CAN)</p> <p> </p> <li>Language and the Body </li> <p>Maiya Murphy (US)</p> <p> </p> <li>Lecoq and Shakespeare </li> <p>Darren Tunstall (UK)</p> <i> </i><p> </p> <li>Le Jeu and the Journey of a People </li> <p>Susan Knutson (CAN) and Normand Godin (CAN)</p> <p> </p> <li>Lecoq and Architecture </li> <p>Laura Gioeni (IT)</p> <i> </i><p> </p> <li>Dear Jacques... Lecoq in the Twenty First Century</li> <p>Simon Murray (UK)</p> <b> </b> <p>Part IV </p> <p>Voyages and Diaspora </p> <p>Introduction </p> <p>Rick Kemp</p> <p> </p> <li>Jacques Lecoq, Ariane Mnouchkine and le Théâtre du Soleil </li> <p>Helen Richardson (US)</p> <p> </p> <li>The Magic Flute and L’École Jacques Lecoq </li> <p>Simon McBurney (UK), William Kentridge (SA) and Catherine Alexander (UK)</p> <p> </p> <li>Lecoq and Complicite </li> <p>Richard Cuming (UK)</p> <p> </p> <li>Theatre Ad Infinitum and Jacques Lecoq </li> <p>Vanessa Ackerman (UK)</p> <p> </p> <li>Lecoq Practitioners in the UK </li> <p>Emily Kreider (UK)</p> <p> </p> <li>The Actor/Creator and Three American Ensembles </li> <p>Susan Thompson (US)</p> <p> </p> <li>Pig Iron: Disponibilité and Observation </li> <p>Quinn Bauriedel (US)</p> <p> </p> <li>The Toronto Connection </li> <p>Martin Julien (CAN)</p> <p> </p> <li>La Mancha Theatre Company and School - Chile </li> <p>Ellie Nixon (UK)</p> <p> </p> <li>From Paris to Cape Town: Lecoq and Magnet Theatre </li> <p>Jennie Reznek (SA) and Mark Fleishman (SA)</p> <p> </p> <li>Clown – Trial by Errors </li> <p>Rick Kemp (UK/US)</p> <p> </p> <li>Lecoq and Film </li> </ol><p>Mark Evans (UK)</p>