The Routledge Companion to Jacques Lecoq

Mark Evans is Professor of Theatre Training and Education and Associate Dean (Student Experience) in the Faculty of Arts and Humanities at Coventry University. His research focuses on the work of Jacques Copeau, Jacques Lecoq and movement training for the modern actor. He recently edited The Actor Training Reader (Routledge, 2015) and is an Associate Editor of the Theatre, Dance and Performance Training journal. Rick Kemp is Head of Acting and Directing at Indiana University of Pennsylvania, and the author of Embodied Acting (Routledge 2012). He has worked internationally as an actor and director with companies and theatres such as Commotion, Complicite, Almeida, Teatr Polski and the Bouffes du Nord.

Foreword by Geoffrey Rush

General Introduction

Mark Evans and Rick Kemp

Part I

Influences and Antecedents

Introduction

Mark Evans






The French Theatrical Avant Garde
Nigel Ward (UK)




Mime, ‘Mimes’ and Miming
Vivian Appler (US)




The Rediscovery of the Mask
Gillian Arrighi (AUS)




Jacques Lecoq and the Challenge of Modernist Theatre, 1945-1968
Bruce McConachie (US)




Jacques Lecoq and the Studio Tradition
Tom Cornford (UK)




Bachelard, Jousse and Lecoq
Claudia Sachs (BRA)




Space and Mimesis
Jon Foley Sherman (US)




Movement Made Visible: Marey and Lecoq
Clare Brennan (UK)




Literature, Lecoq and the ‘nouveau roman’
Pardis Dabashi (US)




The Body Voice of Satire: Jacques Lecoq and Dario Fo
Gloria Pastorino (US)



Part II

Inspirations and Evolutions

Introduction

Rick Kemp




The Influence of Sports on Jacques Lecoq’s Actor Training
Mark Evans (UK)




What Works and What Doesn’t Work: On Play
Paola Coletto (IT/US) and Jennifer Buckley (US)




Neutral Mask - A Life’s Journey
Dody DiSanto (US)




The Mimo-dynamics of Music, Poetry, and Short Story: Lecoq on Bartók
Jennie Gilrain (US)




Full Face Masks, Pantomime Blanche and Cartoon Mime
David Gaines (US)




Commedia Dell’Arte and Comedie Humaine
Giovanni Fusetti (IT)




The Chorus
Shona Morris (UK)




Bouffons and the Grotesque
Bim Mason (UK)




Auto-cours, Enquetes, Commandes: A Practitioner’s Perspective
Carlos García Estévez (ES)




Lecoq's Clown and its Application to Playing Shakespeare's Clowns
Sara Romersberger (US)




Laboratory of Movement Study
Ismael Scheffler (BRA)

Part III

Ricochets and reverberations

Introduction

Mark Evans




Lecoq, Emotion and Embodied Cognition
Rick Kemp (UK/US)




The Juggernaut and the Pram: Lecoq and UK Actor Training
Vladimir Mirodan (UK)




Moving Medicine
Suzy Willson (UK)




British Movement Directors
Ayse Tashkiran (UK)




Contemporary Circus
Mitch Mitchelson (UK)




Lecoq Training and Asian Theatre Practice
Maya Tångeberg-Grischin and Anna Thuring (SWE)




Locating the Body in English Language Teaching
Nikole Pascetta (CAN)




Language and the Body
Maiya Murphy (US)




Lecoq and Shakespeare
Darren Tunstall (UK)




Le Jeu and the Journey of a People
Susan Knutson (CAN) and Normand Godin (CAN)




Lecoq and Architecture
Laura Gioeni (IT)




Dear Jacques... Lecoq in the Twenty First Century
Simon Murray (UK)

Part IV

Voyages and Diaspora

Introduction

Rick Kemp




Jacques Lecoq, Ariane Mnouchkine and le Théâtre du Soleil
Helen Richardson (US)




The Magic Flute and L’École Jacques Lecoq
Simon McBurney (UK), William Kentridge (SA) and Catherine Alexander (UK)




Lecoq and Complicite
Richard Cuming (UK)




Theatre Ad Infinitum and Jacques Lecoq
Vanessa Ackerman (UK)




Lecoq Practitioners in the UK
Emily Kreider (UK)




The Actor/Creator and Three American Ensembles
Susan Thompson (US)




Pig Iron: Disponibilité and Observation
Quinn Bauriedel (US)




The Toronto Connection
Martin Julien (CAN)




La Mancha Theatre Company and School - Chile
Ellie Nixon (UK)




From Paris to Cape Town: Lecoq and Magnet Theatre
Jennie Reznek (SA) and Mark Fleishman (SA)




Clown – Trial by Errors
Rick Kemp (UK/US)




Lecoq and Film

Mark Evans (UK)