Tarot Antiguo Jacques

THE ROUTLEDGE COMPANION TO
JACQUES LECOQ
The Routledge Companion to Jacques Lecoq 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
forty-five chapters, the book examines:
• 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.
• 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.
• The significance and value of his pedagogical approaches in the context of contemporary
theatre practices.
• The diaspora of performance practice from the School, from the perspective of many of
the most prominent artists themselves.
This is an important and authoritative guide for anyone interested in Lecoq’s work.
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 mod-
ern 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 Professor of Theatre and Head of Acting and Directing at Indiana University
of Pennsylvania, and the author of Embodied Acting (Routledge, 2012). He has worked inter-
nationally as an actor and director with companies and theatres such as Commotion, Com-
plicite, Almeida, Teatr Polski and the Bouffes du Nord and is a Fellow of The Salzburg Global
Seminar on Neuroscience and Art.
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THE ROUTLEDGE
COMPANION TO
JACQUES LECOQ
Edited by
Mark Evans and Rick Kemp
First published 2016
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
711 Third Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2016 Mark Evans and Rick Kemp
The right of Mark Evans and Rick Kemp to be identified as the authors
of the editorial material, and of the authors for their individual chapters,
has been asserted in accordance with sections 77 and 78 of the Copyright,
Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced
or utilised in any form or by any electronic, mechanical, or other means,
now known or hereafter invented, including photocopying and recording,
or in any information storage or retrieval system, without permission in
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Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloguing-in-Publication Data
Names: Evans, Mark, 1957– editor of compilation. | Kemp, Rick,
1958– editor of compilation.
Title: The Routledge companion to Jacques Lecoq / [edited by]
Mark Evans and Rick Kemp.
Other titles: Jacques Lecoq
Description: Abingdon, Oxon ; New York, NY : Routledge, 2016. |
Includes bibliographical references and index.
Identifiers: LCCN 2016000849 | ISBN 9781138818422 (hardback) |
ISBN 9781315745251 (ebook)
Subjects: LCSH: Lecoq, Jacques—Criticism and interpretation. |
Acting—Philosophy.
Classification: LCC PN2638.L349 R68 2016 | DDC 792.028092—dc23
LC record available at http://lccn.loc.gov/2016000849
ISBN: 978-1-138-81842-2 (hbk)
ISBN: 978-1-315-74525-1 (ebk)
Typeset in Goudy
by Apex CoVantage, LLC
This book is dedicated to the memory of Jacques Lecoq.
CONTENTS
List of figures xii

Acknowledgementsxiv
Foreword by Geoffrey Rush xv
Notes on contributors xvi
General introduction 1
PART I
Influences and antecedents 7
Introduction9
Mark Evans
1 The French theatrical avant-garde 12

Nigel Ward
2 Mime, ‘mimes’ and miming 19

Vivian Appler
3 The rediscovery of the mask 27

Gillian Arrighi
4 Jacques Lecoq and the challenge of Modernist theatre, 1945–1968 35

Bruce McConachie
vii
Contents
5 Jacques Lecoq and the studio tradition 43

Tom Cornford
6 Bachelard, Jousse and Lecoq 51

Claudia Sachs
7 Space and mimesis 59

Jon Foley Sherman
8 Movement made visible: Marey and Lecoq 67

Clare Brennan
9 Literature, Lecoq, and the ‘nouveau roman’79

Pardis Dabashi
10 The body voice of satire: Jacques Lecoq and Dario Fo 87

Gloria Pastorino
PART II
Inspirations and evolutions 97
Introduction99
Rick Kemp
11 The influence of sports on Jacques Lecoq’s actor training 104

Mark Evans
12 What works and what doesn’t work: On play 112

Paola Coletto and Jennifer Buckley
13 Neutral mask – a life’s journey 119

Dody DiSanto
14 The mimo-dynamics of music, poetry, and short story: Lecoq on Bartók 127
Jennie Gilrain
15 Full-face masks, pantomime blanche and cartoon mime 135

David Gaines
16 Commedia dell’arte and Comedie Humaine142

Giovanni Fusetti
17 The Chorus 150

Shona Morris
viii
Contents
18 Bouffons and the grotesque 157

Bim Mason
19 Auto-cours, enquêtes, commandes: A theatre practitioner’s perspective 165

Carlos García Estévez, Assisted by Paige Allerton
20 Lecoq’s clown and its application to playing Shakespeare’s clowns 171

Sara Romersberger
21 Laboratory of Movement Study 179

Ismael Scheffler
PART III
Ricochets and reverberations 193
Introduction195
Mark Evans
22 Lecoq, emotion and embodied cognition 199

Rick Kemp
23 Lecoq’s influence on UK drama schools 208

Vladimir Mirodan
24 Moving medicine 218

Suzy Willson
25 British movement directors 227

Ayse Tashkiran
26 Contemporary circus 236

Mitch Mitchelson
27 Lecoq training and Asian theatre practice 244

Anna Thuring and Maya Tångeberg-Grischin
28 Locating the body in English language teaching 251

Nikole Pascetta
29 Language and the body 260

Maiya Murphy
30 Lecoq and Shakespeare 268

Darren Tunstall
ix
Contents
31 Lecoq, neuroscience, and Acadian community theatre 275

Susan Knutson and Normand L. Godin
32 Lecoq and architecture 284

Laura Gioeni
33 Dear Jacques . . . Lecoq in the twenty-first century 292

Simon Murray
PART IV
Voyages and diaspora 301
Introduction303
Rick Kemp
34 Jacques Lecoq, Ariane Mnouchkine and the Théâtre du Soleil 307

Helen Richardson
35 The Magic Flute and L’École Jacques Lecoq: A conversation between

William Kentridge and Simon McBurney 316
Catherine Alexander, William Kentridge, and Simon McBurney
36 Lecoq and Complicite 323

Richard Cuming
37 Theatre Ad Infinitum and Jacques Lecoq 330

Vanessa Ackerman
38 Lecoq practitioners in the UK 337

Emily Kreider
39 The actor/creator and three American ensembles 347

Susan Wright Thompson
40 Pig Iron: Disponibilité and observation 356

Gabriel Quinn Bauriedel
41 The Toronto connection: Lecoq and English Canada 363

Martin Julien
42 La Mancha Theatre Company and School, Chile 372

Ellie Nixon
x
Contents
43 From Paris to Cape Town: Lecoq and the life of Magnet Theatre 380
Jennie Reznek
44 Clown – trial by errors 388

Rick Kemp
45 Lecoq and film 398

Mark Evans
Index409
xi
FIGURES
I.1 Lecoq demonstrating movement exercise. 2

8.1 Moving parts: performers in Etienne Decroux’s man-as-machine
performance, L´Usine (circa 1948). 69
8.2 Demonstration of movement: Jacques Lecoq, circa 1958. 70
8.3 Geometric chronophotograph: jump with bent knees. 70
8.4 Lines of action: Marey’s transcription of geometric
chronophotographs of a figure jumping from a chair, with legs flexed
to absorb the shock of landing. 71
8.5 Discus thrower: Marey’s chronophotograph of a discus thrower.
Beaux-arts de Paris. 73
8.6 Discus thrower: drawing from the author’s notes when a student at
L’École Jacques Lecoq. 74
11.1 Lecoq teaching physical exercise during his early career as a sports
therapist and instructor. 105
15.1 Jacques Lecoq with an expressive mask. 138
16.1 Lecoq and Capitano mask. 146
21.1–21.5 Images illustrate the work of the LEM, where students
work with structure, space, colour, and movement. 188
26.1 The Lecoq clown returns to the circus. Smog directed by
Mitch Mitchelson. 241
31.1 Acadian exiles wandering in the British colonies of America.
Excerpt from Évangéline, drame musical, performed by
Les Araignées du boui-boui, Pointe-de-l’Église, Nova Scotia. 2004. 278
34.1 A Théâtre du Soleil workshop at the Cartoucherie, Paris,
including actors of the company and workshop participants, 2009. 308
34.2 In Les Clowns, 1969, the Théâtre du Soleil used clowning to
transpose the character’s inner tension between aspiration
and inertia into a heightened physicality. 310
34.3 La Cuisine, 1967, theatricalized the hectic world of a busy kitchen
staff juggling work and personal life, transposing the day-to-day into a
poetic expression of a workplace out of control. 312
xii
Figures
43.1 Every Year, Everyday I Am Walking. Magnet Theatre. 385

44.1 Lecoq with clowns. 390
44.2 Lecoq teaching clown. 392
44.3 Gaulier and Pagneux Workshop in London, 1984. 394
xiii
ACKNOWLEDGEMENTS
The editors would like to thank the many colleagues who have assisted in the creation of this
volume. Thanks in particular go to Talia Rodgers at Routledge for her support in the early
stages of this project, and to Harriet Affleck, Ben Piggott and Kate Edwards for their support
along the way.
Mark Evans would like to thank Coventry University for research funding to support his
work on this project, as well as Katy Morrison and Laura Grimes for their assistance with the
transcription of interview material. Rick Kemp thanks the Research Institute and the Dean’s
Office of the College of Fine Arts at Indiana University of Pennsylvania for research funding
for this project.
Special thanks go to Pascale and Richard Lecoq for their advice and support through-
out this project, and for permission to use images from the École Internationale de Theatre
Jacques Lecoq’s collection. We also wish to thank the international community of Lecoq
graduates, and in particular Dody DiSanto, for their kind support.
A special acknowledgement goes to Vanessa Oakes and Diane Ralston Kemp for their
love, wisdom and patience.
xiv
FOREWORD
Jacques Lecoq taught me how to fall over, get slapped and be a failure. As an impoverished
student, I handed over a fair sum of money for him to do this. I couldn’t even question him
about it at the time because my French was so lousy.
He also, I should add, taught me how to get up and stand, simply stand, and be with myself,
and be with an audience.
And how to fly . . .
. . . how to drop my jaw to the floor when he reduced the Boatman to a breath
. . . how wide my eyes could pop when he glorified the Discus Thrower and then reduced
him to a giggle.
I mixed a cocktail in 134 movements, I understood galloping, that fire could be laughter,
that the Commedia groin speaks volumes.
For two exhilarating years we danced, flipped, worried, yielded, basculed.
We climbed that mountain, surveyed the view, and have been running wildly down the
other side ever since. I am one of 5,000 adults that Jacques coaxed into a state of play. To be
‘disponible’.
My French is still lousy, and even in my native tongue I find it hard to express my gratitude
for his inspiration and my sorrow at his passing. He expanded my ignorant and rigid sense
of creativity to such a magnitude that his influence on my life still reverberates, spiraling
upwards and outwards.
We are bonded today by powerful memories of a man who was our teacher.
Farewell, Neutral Man, and thank you, Jacques, for sharing your Grand Voyage. You said
the modern hero didn’t really exist. I think you were wrong.
Geoffrey Rush
Melbourne
Australia
April 23, 1999
The original text of this tribute was read by Joan Paris (Dody DiSanto) at the funeral of
Jacques Lecoq in 1999.
xv
NOTES ON CONTRIBUTORS
Vanessa Ackerman trained at LAMDA (London Academy of Music and Dramatic Art) and
holds an MA from the Shakespeare Institute, where she is pursuing a PhD in contemporary
Shakespearean performance. As an actress, Vanessa’s credits include leading roles for compa-
nies such as the Royal Shakespeare Company, the Royal Court, and Howard Barker’s Wres-
tling School, as well as on television and radio for the BBC. She has also worked as a director,
a translator, and with emerging playwrights across new writing venues. She co-founded Fron-
tier Theatre, which sources, translates and develops new European playwriting. She currently
teaches in the MA program in Modern Literature for the Sorbonne University.
Catherine Alexander studied Drama at Manchester University and trained at L’École Jacques
Lecoq. She is the Artistic Director of Quiconque and an Associate Director for Complicite
(The Master and Margarita, A Disappearing Number and The Elephant Vanishes). Directing cred-
its include The Gypsy Bible (Opera North), Touching Space (Royal Academy of Art) and The
Boy from Centreville (Pleasance). Other work includes Wild Oats (Bristol Old Vic) and Coram
Boy (National Theatre). Catherine won the Jerwood Prize in 2006 and the Amnesty Interna-
tional Freedom of Expression Award in 2011. She currently runs the BA (Hons) Acting CDT
at the Royal Central School of Speech and Drama.
Vivian Appler is an Assistant Professor of Theatre at the College of Charleston. She was a
2010 Fulbright fellow at the Dimitri Clown School in Verscio, Switzerland. She has taught
at the College of William and Mary and has acted, directed, devised and designed puppets
in Philadelphia, Pittsburgh and the San Francisco Bay area. Her research interests include
science and performance, practice-based research and activist theatre. She earned her PhD
at the University of Pittsburgh and her MA in performance studies from Queen Mary, Uni-
versity of London. She holds a certificate from the Dell’Arte International Physical Training
Program.
Gillian Arrighi is Senior Lecturer at the University of Newcastle (Australia), where she
teaches acting and performing, contemporary performance making and performance histo-
ries. Her research in the field of popular entertainments of the late-nineteenth and early-
twentieth centuries has been widely published in journals and edited collections. She is
xvi
Notes on contributors
associate editor of the scholarly e-journal, Popular Entertainment Studies; co-editor of the book
Entertaining Children: The Participation of Youth in the Entertainment Industry (Palgrave Macmil-
lan, 2014); and author of the monograph The FitzGerald Brothers’ Circus: Spectacle, Identity
and Nationhood at the Australian Circus (Melbourne: Australian Scholarly Publishing, 2015).
Gabriel Quinn Bauriedel is co-founder and Co-Artistic Director of two-time Obie Award-
winning Pig Iron Theatre Company, based in Philadelphia. He has performed, directed and
designed for the company since its inception in 1995. Quinn has performed and taught work-
shops in sixteen countries on four continents. He also directs the UArts/Pig Iron School
MFA & Certificate Programs in Devised Performance. Quinn is a 2016 Eisenhower Fellow
and has received a USA Knight Fellowship, a Pew Fellowship, an Independence Foundation
Fellowship and a Fox Fellowship. He was also a Luce Scholar in Bali, Indonesia. Quinn gradu-
ated from L’École Jacques Lecoq and Swarthmore College.
Clare Brennan is a journalist and theatre practitioner. She reviews theatre for the
Guardian/Observer, and is a member of the Critics’ Circle and a judge for the UK Thea-
tre Awards. After gaining an MA in English Language and Literature from the University
of Edinburgh (specialization: world drama, past and present), she trained for two years at
L’École Jacques Lecoq in Paris, and subsequently, with Philippe Gaulier and Monika Pag-
neux. A member of Equity, she works as a director, dramaturg, writer, deviser and trainer with
professional companies in the UK and beyond; she also teaches physical theatre in schools,
colleges and universities.
Jennifer Buckley is Assistant Professor of English and Rhetoric at the University of Iowa,
where she teaches courses on drama and on rhetorics of movement and gesture. Her essays
and reviews have appeared in Theatre Survey, Modernism/modernity, Comparative Drama,
SHAW: The Annual of Bernard Shaw Studies, and Theater. Buckley is now completing her first
monograph, Beyond Text: Theatre and Performance in Print, while beginning her second, Act
without Words: Mime and Modernism.
Paola Coletto, originally from Padua, Italy, is a graduate of the École Internationale de Théâ-
tre Jacques Lecoq in Paris. She is one of forty students in the school’s fifty-year history to
receive the Master’s Certification in Theatre Pedagogy under Lecoq’s direction. In Italy, she
co-founded Kìklos Teatro, an international school with a two-year program for theatre artists.
Once relocated to Chicago, she founded The School for Theatre Creators, a nine-month pro-
fessional program in Devising Theatre and Performance, where she leads a team of teachers
with a wide diversity of experience in acting, directing and writing.
Tom Cornford is a Lecturer in Theatre and Performance at the Royal Central School of
Speech and Drama, University of London, and a director and dramaturg. He was previously
Lecturer in Theatre at the University of York and has taught acting and directing in the UK,
the US and Germany. He is currently completing his first monograph, Theatre Studios: Prac-
tices, Philosophies and Politics of Ensemble Theatre Making.
Richard Cuming is a Senior Lecturer in the Department of Performing Arts at the University
of Winchester. His teaching and research is in physical and visual performance and the syn-
thesis of different forms. He was a founder of clown troupe Zippo & Co, and from 1986–2001
ran his company fishproductions, which was dedicated to performance in non-theatre spaces.
xvii
He is an artistic associate of Platform 4 Theatre and an associate editor of Total Theatre maga-
zine. He frequently performs with Fuse Performance and was their dramaturg on their real/
fake performance The Village Fete.
Pardis Dabashi is a doctoral candidate at Boston University in the department of English

and American Literature. She works on the problem of eventlessness in modernist literature
and film. She graduated from Columbia University with a bachelor’s degree in English and
Comparative Literature in 2008, whereupon she moved to Paris to study at the Jacques Lecoq
and Philippe Gaulier schools. There she formed a troupe with four other members of the
Lecoq school, and toured Provence and Brittany with a show they devised called Le Grand
Départ. The show included marionettes, masks, acrobatics, music, and Lecoq- and Gaulier-
style clowns.
Dody DiSanto is the director of The Center for Movement Theatre in Washington, DC.
An esteemed protégé of the late Jacques Lecoq, she teaches actor preparation of the body,
the imagination and the art of collaboration. She is a faculty member in the MFA programs
at The Shakespeare Theatre’s Academy for Classical Acting, at The George Washington
University and at The Catholic University of America. She has a practice in therapeutic
bodywork and also created, owned and managed the internationally acclaimed music venue
Nightclub 9:30 in Washington, DC, from 1980–87.
Carlos García Estévez is an international artist based in Paris. He is an actor, stage director,
pedagogue and theatre researcher. He is a specialist in contemporary Commedia dell’arte,
mask performance and devised theatre. Carlos is an associate artist at the LEM (Laboratory
for the Study of Movement – L’École Jacques Lecoq); and with his theatre laboratory Mani-
festo Poetico, he is performing, devising shows and teaching internationally. Recently he has
been working as an actor with Simon McBurney. He directs, together with François Lecoq,
the project Manifesto In Action. He has been a collaborator of Donato Sartori as a movement
teacher and an actor.
Mark Evans is Professor of Theatre Training and Education, and Associate Dean (Student
Experience) in the Faculty of Arts and Humanities at Coventry University. He trained in
theatre and movement in Paris, with Jacques Lecoq, Philippe Gaulier and Monika Pagneux.
He has taught movement for over twenty years, and has written on Jacques Copeau, Jacques
Lecoq and movement training for actors. He recently edited The Actor Training Reader
(Routledge, 2015). He is currently writing a new book on performance, movement and the
body (Palgrave Macmillan).
Giovanni Fusetti works internationally as a teacher, director and process facilitator, explor-
ing theatre in training, performance, education, healing and environmental and politi-
cal action. In the 1990s, he trained at the École Internationale de Theatre Jacques Lecoq,
where he later returned as a pedagogic student and improvisation teacher. He has been
the founding pedagogical director of two international schools of movement-based theatre
creation in Italy: KIKLOS in Padua and HELIKOS in Florence. His background includes
a BA in Agriculture and Ecology, and trainings and practice in Theatre of the Oppressed,
Gestalt Therapy, Reichien Analysis, Process Work and Permaculture. Website: www.gio
vannifusetti.com
xviii
David Gaines is a graduate of, and former teacher at, the École Jacques Lecoq in Paris. He is a
founding member of Moving Picture Mime Show – a much-lauded physical theatre company
based in London from 1978–88. In addition to his own performances, he teaches acting at
George Mason University and works for Big Apple Circus as a clown in children’s hospitals
in Washington, DC and Baltimore. His two most recent solo performance pieces are A Little
Business At the Big Top and 7 (x 1) Samurai, which has toured from Vancouver to Tel Aviv and
won many awards.
Jennie Gilrain graduated from the Lecoq International School of Theatre and the Labora-
tory for the Study of Movement (LEM) in 1992 and completed the Lecoq pedagogy course in
1995. She worked for twenty years as an actor, director and teacher with Touchstone Theatre
and ten years as adjunct professor with the Lehigh University Department of Theater. Gilrain
holds an undergraduate degree in occupational therapy from Western Michigan University
and a masters degree in education from Lehigh University. She began teaching children full-
time in 2006. Gilrain continues to work collaboratively as a theater artist, most recently with
the Bach Choir of Bethlehem.
Laura Gioeni is an architect, philosopher, independent researcher and lecturer. She initially
trained at the School of Mimodrama in Milan, experiencing Lecoq’s pedagogy with Marina
Spreafico and Kuniaki Ida. For over twenty years, she has worked as an architect in the field
of both conservation and design, and as adjunct professor at the Polytechnic of Milan. The
author of various books and essays, she is currently engaged in theoretical research on the
philosophy of architecture, embracing a phenomenological and pragmatic approach, and pro-
motes projects and workshops aimed at introducing mimodynamical methods in architectural
education. She also practices traditional Western Africa dance.
Normand L. Godin is Professor Emeritus of French Literature at Université Sainte-Anne,

Pointe-de-l’Église, Nova Scotia, Canada. He authored, adapted, translated, directed and
produced several plays during his tenure as artistic director of Les Araignées du Boui-Boui
community theatre from 1972 to 2006; Tristan et Iseult, Joko fête son anniversaire (Topor), and
Wang-Fô (Yourcenar), among others, reflect Lecoq’s influence. His plays were toured and won
awards at international festivals in Europe, South America, English Canada and Quebec.
Évangéline, a musical drama, ran for eleven summers and was the crown jewel of the company.
Godin studied at Lecoq’s school in Paris in 1989–90.
Martin Julien is a PhD candidate at the Centre for Drama, Theatre and Performance Studies
in the University of Toronto. He has also worked as a Toronto-based actor and theatre deviser
for over thirty years. As a scholar, his writing has been published by TDR (The Drama Review),
Canadian Theatre Review, Journal of Stanislavski Studies, and Cambridge Scholars. He is the edi-
tor of the upcoming Theatre Passe Muraille: 50 Years: A Collective History, to be published by
Playwrights’ Canada Press in the fall of 2017.
Rick Kemp (aka Zoltowski) has over thirty years of award-winning experience gained in the
UK, Europe, and the US. The co-founder and Co-Artistic Director of London’s Commotion
Theatre, he has worked with companies such as the Almeida, Complicité, Quantum, the
Pittsburgh Playhouse, 404 Strand, Squonk Opera, Teatr Polski, and the Bouffes du Nord.
He holds an MA from Oxford University, and an MFA and a PhD from the University of
xix
Pittsburgh. He is Professor of Theatre and Head of Acting and Directing at Indiana Univer-
sity of Pennsylvania, a Fellow of the Salzburg Global Seminar, and the author of Embodied
Acting: What Neuroscience Tells Us About Acting.
William Kentridge was born in Johannesburg, South Africa, in 1955 and is best known as
a fine artist for his drawings, prints and animated films. He attended the University of the
Witwatersrand, Johannesburg, and the Johannesburg Art Foundation, and studied at L’École
Jacques Lecoq, Paris. Kentridge has had major exhibitions at the San Francisco Museum of
Modern Art; the Philadelphia Museum of Art; Moderna Museet, Stockholm; and the Met-
ropolitan Museum of Art, New York. His opera and theatre works, often produced in col-
laboration with Handspring Puppet Company, have appeared at the Brooklyn Academy of
Music; the Standard Bank National Arts Festival, Grahamstown, South Africa; and Festival
d’Avignon, France.
Susan Knutson is Professor of English at Université Sainte-Anne. Recently, she edited River-
ing: The Poetry of Daphne Marlatt (WLUP, 2014), and published chapters in Nicole Brossard:
L’inédit des sens (Remue-ménage, 2013) and Africadian Atlantic: Essays on George Elliott Clarke
(Guernica, 2012). She edited Canadian Shakespeare, Critical Perspectives on Canadian Thea-
tre in English (CPCTE) Vol. 18 (Playwrights Canada Press, 2010); was founding editor of Port
Acadie: An Interdisciplinary Review in Acadian Studies; and published one monograph, Narrative
in the Feminine: Daphne Marlatt and Nicole Brossard (2000). For eleven happy summers, Susan
was an actor/musician in Les Araignées du Boui-Boui under the artistic direction of Normand
Godin.
Emily Kreider is a graduate of L’École Jacques Lecoq, Paris (2003–05). As Co-Artistic Direc-
tor of Jammy Voo, she has toured nationally and internationally with the company for many
years. Their last show, Birdhouse, was nominated for a Total Theatre Award in 2013 for
Innovation and Playing with Form. Emily has also performed with the French stilt-walking
company Friche Theatre Urbaine. Other projects include My Dad is Jim with Pachamama
Theatre, Catherdra900 with multimedia artist Mark Ware, and Tony Lidington’s The Raree
Man’s Peepshow for the Royal Albert Memorial Museum in Exeter. Emily is a lecturer at the
University of Exeter.
Bim Mason is the co-founder and co-director of Circomedia, Centre for Contemporary Cir-
cus and Physical Performance. He trained with Jacques Lecoq (1983–85) and with Phillipe
Gaulier (1992). His early performing was with the first UK circus-theatre group Kaboodle,
his own Mummer&dada (1985–90), and solo shows. Shows he directed have won three
Edinburgh Fringe First Awards and the Herald Angel Award. He has also directed for Wel-
fare State International, Peepolykus and Ockham’s Razor. An accomplished mask-maker, he
created the international walkabout piece, The Bigheads. His published work includes Street
Theatre (1992), Provocation in Popular Culture (2015) and chapters on Lecoq, popular theatre
and circus. Website: www.bimmason.com
Simon McBurney was born in Cambridge, England, in 1957 and is a theatre and opera direc-
tor, actor and writer. He studied at Cambridge University and L’École Jacques Lecoq, Paris.
He is co-founder and Artistic Director of Complicite, for which he has created many award-
winning international theatre productions, including The Street of Crocodiles, The Three Lives
of Lucie Cabrol, Mnemonic, A Disappearing Number and most recently, The Encounter.
xx
Bruce McConachie, Professor of Theatre and Performance Studies at the University of

Pittsburgh, has written widely on theatre history and cognitive studies in performance. His
recent books include Engaging Audiences: A Cognitive Approach to Spectating in the Theatre
(2008); Theatre Histories: An Introduction (2nd edition, 2010, with Zarrilli, McConachie,
Williams and Sorgenfrei); Theatre and Mind (2013); and Evolution, Cognition, and Perfor-
mance (2015).
Vladimir Mirodan is Professor of Theatre and Research Leader, Drama and Performance/
Drama Centre, Central Saint Martins, University of the Arts London. He has directed over
fifty productions and has taught in most leading drama schools in the UK. He was Director of
the School of Performance at Rose Bruford College, Vice-Principal and Director of Drama at
the Royal Conservatoire of Scotland and Principal of Drama Centre London. He was Chairman
of the Conference of Drama Schools and a Deputy Chair of the National Council for Drama
Training. He is currently the Chair of the Directors Guild of Great Britain Trust.
Mitch Mitchelson is an international teacher, director and performer. He worked with the
community arts company Bath Arts Workshop and was a founding member of Original Mix-
ture, the suitcase circus and street arts company. A long involvement with Circus Space led to
him becoming Head of Performance for five years. He continued his practice with educational
departments at the Royal Shakespeare Company and the Royal National Theatre; St Mary’s
University, London; East 15 Acting School; and Stageworks Summer School, Ireland. He has
directed for Actors of Dionysus, Fourth Monkey Theatre Company, and the circus theatre
company Osborne & What.
Shona Morris is a movement director, teacher and actor, and has been working professionally
since 1978. She trained at Jacques Lecoq (1976–78) after taking a degree in drama and English
at Bristol University and studying ballet in London. Her movement directing credits include
six seasons at the Stratford Festival Ontario, where she was Head of Movement (2010–15).
She is currently a creative associate at Watford Palace Theatre and Lead Movement Tutor
at the Royal Academy of Dramatic Art (RADA). Her recent credits include Coming Up and
Jeffersons Garden (Watford Palace); and Hamlet, The Country Wife, King John, A Midsummer
Night’s Dream, Mother Courage, Romeo and Juliet and Peter Pan (Stratford Festival).
Maiya Murphy is a scholar, teacher and artist interested in the intersection of physical theater
practices, cognitive science and philosophy. She contributed chapters to The Oxford Hand-
book of Dance and Theater (Nadine George-Graves, ed.) and Collective Creation in Contempo-
rary Performance (Kathryn Mederos Syssoyeva and Scott Proudfit, eds.). She was the founding
Administrative Director for Naropa University’s MFA Theater program. She received her
PhD at University of California, San Diego, and her BA from Yale University, and she studied
Lecoq-based training at the London International School of Performing Arts (LISPA). Maiya
is an Assistant Professor in the Theatre Programme at the National University of Singapore.
Simon Murray teaches theatre studies and contemporary performance at the University of
Glasgow. In the mid-1980s, he spent a year in Paris training with Philippe Gaulier and Mon-
ika Pagneux. His writing, teaching and research embrace diverse interests provoked by his
original training as a sociologist. He has written the only full-length monograph on Jacques
Lecoq (2003) and various related essays on Lecoq, Gaulier and Pagneux. In addition, he has
written on physical theatres, lightness and collaboration, and on the association between the
xxi
fictions of W. G. Sebald and contemporary performance. He is also co-founder/editor of the

Theatre, Dance and Performance Training journal.
Ellie Nixon is subject leader for BA Acting at Bath Spa University. She has extensive inter-
national experience as a theatre director, actor-creator and teacher. After graduating from
Middlesex University, she studied at the Jacques Lecoq International Theatre School (1987–
89). Ellie co-founded the La Mancha International Theatre Company with Rodrigo Malbrán
and continues to be its UK Artistic Director. La Mancha has produced over twenty-five thea-
tre projects, performing throughout the UK, Europe, Scandinavia, and Central and South
America. In 1995 she co-founded the La Mancha International School of Image and Gesture
in Santiago, Chile, which specialises in contemporary theatre practice.
Nikole (Nikki) Pascetta is a graduate of L’École Jacques Lecoq (1990–92) and is the lone
Canadian PhD of Lecoq’s work. Her doctorate and masters (York University) research is
on the foundations of L’École’s physical performance training in relationship to meaning-
making (corporeal consciousness) and knowledge construction (epistemology). Nikki’s
return to academe comes after two decades as an actor/artist educator. Upon graduat-
ing from L’École, she was a core member of Théâtre de la Jacquerie (1993–99). Other
international movement/theatre training includes Philippe Gaulier (France); ‘Commedia
dell’arte/mask’ with Fabio Mangolini, Antonio Fava and Donato Sartori (Italy); Gina
Kapetanaki (National Theatre of Greece); and Strasberg’s Actors’ Studio (New York).
Gloria Pastorino is Associate Professor of Italian and French at Fairleigh Dickinson Univer-
sity, where she also teaches English literature and drama. For her PhD from Harvard University,
she wrote a dissertation on Dario Fo’s stage language, now in the process of becoming a book.
She has worked on- and off-stage with Dario Fo and has translated several Italian and Span-
ish authors for stage productions and readings. Her publications include articles on migration,
Italian cinema, masculinity, and translations for American productions of plays by Dario Fo,
Luigi Pirandello, Mariangela Gualtieri, Romeo Castellucci and Lella Costa e Juan Mayorga.
Jennie Reznek, BA, Perf. Dip. (speech & drama) (University of Cape Town, UCT), Diploma
École Jacques Lecoq (Paris), and MA (UCT), is an actress, director and teacher. Jennie is a
founding member of Magnet Theatre and runs the bulk of the workshop and performance
program of the company. She is an award-winning actress and has created twenty-seven new
pieces of physical theatre that foreground the language of the body and which respond to the
South African archive. Her longest running show, Every Year Every Day I am Walking, about
refugees in Africa, has garnered praise and awards nationally and internationally and has had
twenty-four international tours.
Helen Richardson is Director of Performance and Interactive Media Arts MFA, Brooklyn Col-
lege (http://wp.pima-mfa.info). Helen is a theatre director specializing in collaborative creation/
social engagement, and formerly the Artistic Director of Stalhouderij Theatre, Amsterdam, an
international ensemble creating new works that was recognized for the best productions of the
year in the Netherlands on themes exploring the encounter between the ‘old’ and ‘new’ world,
gender and economic disparity. She was Producer/Dramaturg for Global Theatre Ensemble’s
project on Eliminating Violence Against Women commissioned by the United Nations. She has
authored various chapters on Théâtre du Soleil for Routledge and written a contemporary adap-
tation of Jarry’s UBU trilogy published by Samuel French, Inc.
xxii
Sara Romersberger is Associate Professor of Theatre/Movement, Southern Methodist Uni-

versity. Sara holds an MA in dance from the University of Illinois and a Certificate from
L’École Internationale de Théâtre Jacques Lecoq, Paris. A past President of the Association
of Theatre Movement Educators, nationally she choreographed fights and dances and created
physical comedy for musicals, drama (specializing in Shakespeare) and operas, and devised,
directed and performed her own brand of movement theatre off-Broadway in New York at
The Mint Theatre and Primary Stages. Her international production credits include Hang-
man, Hangman and The Town of Greed (world premieres), Teatro de la Zarzuela (Madrid) and
Gran Teatre del Liceu (Barcelona).
Claudia Sachs is an actress, director and professor. She trained in Paris with Jacques Lecoq in
1992–93 and she’s been researching Lecoq’s pedagogy since then. Her master’s work is titled
‘Lecoq’s Methodology: A Conceptual Study’ and her thesis is ‘The Imagination is a Mus-
cle: The Contribution of Lecoq’s Pedagogy for the Actor,’ establishing relationships between
philosophical approaches and this practice. She’s acted, taught and published about bouffons.
She’s currently developing a post-doctorate research project called ‘Painting in Lecoq: Com-
position From the Body in Movement’ at the Federal University of Rio Grande do Sul, Brazil.
She’s assistant editor of the journal Cena.
Ismael Scheffler is an actor and director, and Professor of Theatre and Scenography, at the
Universidade Tecnológica Federal do Paraná in Brazil. His doctoral thesis is entitled ‘O Labo-
ratório de Estudo do Movimento e o percurso de formação de Jacques Lecoq’ [‘The Laboratory
of Movement Study and Jacques Lecoq’s scholarly and artistic journey’], presented at the
Universidade do Estado de Santa Catarina (Brazil). He also studied at LEM (Laboratory of
Movement Study) with Krikor Belekian and Pascale Lecoq (2010–11).
Jon Foley Sherman is the author of A Strange Proximity: Stage Presence, Failure, and the Ethics
of Attention (Routledge, 2016) and co-editor of Performance and Phenomenology (Routledge,
2015). Jon’s articles on contemporary theatre and dance appear in Performance Research and
New Theatre Quarterly. He has written previously on Lecoq in an article for Theatre Topics
and a chapter in Collective Creation in Contemporary Performance (Palgrave, 2013). An award-
winning actor and deviser, Jon was one of Lecoq’s last students and has performed and directed
in New York, Washington, DC, Switzerland, Chicago, and Philadelphia. You can find his
work at jonfoleysherman.com.
Maya Tångeberg-Grischin is a Doctor in Theatre Arts, theatre director, mime performer and
pedagogue with a diploma from Jacques Lecoq’s school in Paris. Her practice-based, artistic
doctoral thesis ‘The Techniques of Gesture Language – a Theory of Practice’ was completed
at Theatre Academy Helsinki in 2011. Originally from Switzerland, she has worked as a direc-
tor, performer and pedagogue in Germany, Sweden, Finland and India, where she has stud-
ied kathakali and kudiyattam for many years. Since 2012, she has conducted post-doctoral
research on the female acting techniques of kunju and jingju at the National Academy of
Traditional Theatre Arts in Beijing, China.
Ayse Tashkiran is a movement director and teacher. After completing a degree in drama at
Bristol University, she trained with Lecoq from 1990–92. Her performance work included
creating and touring Voyageur Immobile for Cie Philippe Genty. Her movement direction
includes Hecuba, The Shoemaker’s Holiday, The White Devil and As You Like It for the Royal
xxiii
Shakespeare Company; Ssh Bang for Peut Etre; and Wildefire for Hampstead Theatre. Ayse
co-leads the MA/MFA Movement: Directing and Teaching at the Royal Central School of
Speech and Drama, where she also curates the International Centre for Movement. She is cur-
rently researching the history and contemporary practices of movement directors in Britain.
Susan Wright Thompson is a Boston-area theatre artist and teacher. She completed the
two-year program at the Laboratory of Movement Study (LEM) in Jacques Lecoq’s Inter-
national School, and her PhD at Tufts. Her dissertation followed the influence of Lecoq on
three ensembles: Jeune Lune, Touchstone and UMO. Her publications include ‘Freedom and
Constraints: Jacques Lecoq and the Theater of Ensemble Creation’ in Encountering Ensemble
(Methuen, 2013) and her play The Wild Place (co-authored with Jon Lipsky, Smith and Kraus,
2015). She has been a core member of Pilgrim Theatre since 1990 and currently tours her play
Unforgettable: Letters from Korea, based on archival letters from the Korean War.
Anna Thuring (formerly Kurkinen) has a PhD in theatre research from the University of
Helsinki, although a great part of her research activity has taken place in the UK, France and
the US. Currently she is an Affiliated Researcher at Theatre Academy Helsinki. Her research
focuses mostly on Western physical theatre and cultural flows between Asian and Western
performance and performance training. In her methodology, she fuses practical training that
is based both on her own experiences and observation and interviews of professional perform-
ers with academic theoretical and historical approaches.
Darren Tunstall read English at Cambridge. He was an actor, director, movement director
and writer for twenty years, working for the Royal Shakespeare Company, BBC, Film Four,
ITV and many West End repertory and touring theatres, and was deeply involved in the
‘physical theatre’ movement in the 1990s. He is now a full-time lecturer at Guildford School
of Acting, University of Surrey. He has published in The Routledge Companion to Actors’
Shakespeare, Shakespeare Bulletin, and The Journal of Adaptation in Film and Performance, and
his book Shakespeare and Gesture in Practice will be published by Palgrave Macmillan in 2016.
Nigel Ward, after taking a degree in English at Oxford University, trained as a director at
Drama Studio London, and he worked professionally running fringe theatre companies and
as an assistant director at the Royal Shakespeare Company (RSC). On completing his PhD
at Warwick University, he began working professionally as a theatre director for the British
Council and as an assistant director at the RSC. He has taught in a range of institutions,
including Sheffield University and Central School of Speech and Drama, where he ran the
MA in Performance Studies. He is currently Principal Lecturer in Drama and Deputy Head of
Department at Anglia Ruskin University in Cambridge.
Suzy Willson is Co-Artistic Director of Clod Ensemble, an award-winning performance com-

pany based in London, which she cofounded with musician Paul Clark in 1995. She has
directed all of Clod Ensemble’s productions to date, including Zero (Sadler’s Wells, 2013),
Silver Swan (Tate Modern Turbine Hall, 2012) and Red Ladies (Southbank Centre, 2014). She
also leads the company’s Performing Medicine project and is an Honorary Senior Lecturer at
Barts and The London School of Medicine. See: www.clodensemble.com and www.perform
ingmedicine.com
xxiv
GENERAL INTRODUCTION
Nothing can substitute for the lived experience of Jacques Lecoq’s training. This book cap-
tures the significance of that lived experience in the working lives of graduates of his school
and many of the people who have been affected by his pedagogy in different ways. It also
places the training in a wider context of influences and theatrical trends. Corporeal, dynamic,
detailed, evocative and both disciplined and playful, his teaching has had a profound and
extensive influence on Western theatre in the second half of the twentieth century and the
early part of the twenty-first century.
Born in 1921, Lecoq founded his school of theatre in Paris in 1956, and continued to
teach there until a few days before his death in 1999. His influence continues to grow as
family members and former students carry on his teaching at the school, while practition-
ers and teachers who trained there spread his ideas around the world. The significance of
this influence is evident in the stature, variety and numbers of practitioners who base their
work on his teachings: Ariane Mnouchkine, founder and director of Le Théâtre du Soleil;
playwright Yasmina Reza; film actors Sergi López, Geoffrey Rush and Toby Jones; director
and actor Simon McBurney; directors Julie Taymor, James McDonald and Luc Bondy, to
name a few; also companies such as Moving Picture Mime Show, Footsbarn, Mummenschanz,
Complicite, Commotion, Peepolykus, Clod Ensemble, Theatre O, Theatre de la Jeune Lune,
Umo Ensemble and Pig Iron, among many others. Schools founded on his principles include
The School of Physical Theatre in London, the London International School of Performing
Arts, Lassaâd Saïdi’s École Internationale de Théâtre LASSAAD in Brussels, Antonio Fava’s
International School of the Comic Actor in Italy, Dell’Arte School of Physical Theatre in
California, The Burlesk Centre in Switzerland, the Scuola Teatro Arsenale in Milan, La Man-
cha International School of Image and Gesture in Chile, Escuela Internacional de Teatro
in Barcelona and The Pig Iron School of Advanced Performance Training in Philadelphia.
Additionally, many studios are run by individual graduates around the world – Dody DiSanto
in Washington, DC, Mar Navarro in Madrid, Paola Coletto in Chicago and Richard Crawford
in New York, for example. Beyond the direct application of Lecoq’s ideas by former students is
the effect of his work on those who came into contact with it in other ways. Peter Brook, for
example, has a close association with the School, dropping in to watch classes and presenta-
tions; engaging Monika Pagneux, one of the school’s teachers, as his Movement Director; and
casting graduates in his shows.1 At the time of this writing (2015), Brook’s association with
1
the school continues, a recent example being a work-in-progress presentation of Battlefield for
feedback from students on summer courses before the piece opened at his Bouffes du Nord
theatre in September 2015. Both of us have studied within the Lecoq tradition, either at the
School itself and/or with former teachers from the School, and part of our own motivation for
embarking on this project is a belief in the need for much better recognition of both the global
Figure I.1 Lecoq demonstrating movement exercise. © DR.ÉcoleJacquesLecoq.
2
General introduction
significance of Lecoq’s School (with students from at least eighty-four different countries over
the last sixty years) and the value of its pedagogical approach.
Originally a teacher of physical education and a physical therapist, Lecoq developed a
physical method of actor training, one that came from a tradition of movement work that
incorporates Antonin Artaud, Jean-Louis Barrault and Jacques Copeau, and that draws inspi-
ration from Lecoq’s extensive experience of movement through sport. In contrast to the way
in which Stanislavski’s System tends to be associated with the single style of psychological
realism, Lecoq’s approach was drawn from an engagement with and exploration of multiple
styles such as Greek tragedy, Commedia dell’arte, improvisation, melodrama, clown, bouf-
fons, and masks of various types. His analysis of performance was founded on his rigorous
understanding of anatomy and movement, and a recognition that the medium of theatre is
embodied action, and only subsequently language. While this may sound like a self-evident
truth in the early twenty-first century, it was a radical concept in a period in which theatre
was dominated by scripted plays. It originated not only in Lecoq’s professional sports train-
ing, but also in his experience as a performer, director and choreographer in France, Italy and
Germany in the decade immediately following WWII.
Following France’s liberation in 1944, Lecoq became a member of Jean Dasté’s theatre
company, the ‘Comédiens de Grenoble’. Here he was introduced to Japanese Noh Thea-
tre,2 and discovered masks, in particular Dasté’s ‘noble’ mask, which was the forerunner of
Lecoq’s own neutral mask, designed in collaboration with the Italian sculptor and mask-
maker Amleto Sartori.3 The ideas of Copeau, who was Dasté’s father-in-law and had been his
teacher, became a reference point for Lecoq’s own explorations, in particular a desire to create
‘theatre that spoke simply and directly to unsophisticated audiences’.4 This interest led to an
eight-year sojourn in Italy during which he researched Commedia dell’arte, participated in
setting up the Piccolo Teatro in Milan, and worked with practitioners such as Dario Fo and
Giorgio Strehler.
On his return to Paris in 1956, Lecoq opened his School of Mime and Theatre and began
the training system for which he has become famous. It is important to note that for Lecoq,
the word ‘mime’ did not connote the ‘mime corporeal’ or ‘pantomime blanche’ of Etienne
Decroux and Marcel Marceau, but a broader concept of physical expression and its role within
our engagement with the world. This involved rigorous investigation of the principles of
human movement, which for Lecoq were synonymous with the principles of theatre. Move-
ment analysis is one of the three main pillars of the pedagogical structure that Lecoq devel-
oped for his School. The other two are improvisation and collective creativity, which Lecoq
considered to be the main goal of the school. This aspect was affirmed when, after the Paris
student riots of 1968, he gave his own students more autonomy in their learning process by
instituting the auto-cours, sessions in which groups of students worked independently of their
teachers to create short performances on given themes that they presented to the rest of the
school on a regular (usually weekly) basis. This was one of the features of his teaching that led
to the profusion of devised theatre companies that had their origin in his school. Another sig-
nificant factor was that Lecoq, in contrast to others of the same period, did not seek to create
a signature style. While his approach was rigorous and systematic, its purpose, as Lecoq often
reminded his students, was to give them the tools to create a theatre that did not yet exist.
The second year of study is by invitation only – generally only one-third of the first-year
students move on to the second year. The pedagogy in this year begins with an explora-
tion of the ‘gestural languages’ of pantomime, figurative mime and cartoon mime to create
a common vocabulary of gesture. The students then progress to explore five ‘dramatic ter-
ritories’: Melodrama, Commedia dell’arte, Bouffons, Tragedy and Clowns. In Lecoq’s view,
3
these different styles engage with different aspects of emotion, of spatial dynamics, and of
dramatic expression, with specific and distinguishable physical traits in each style. In addi-
tion to these two years of training, students of the School and others with a general interest
can enroll in the Laboratoire d’Étude du Mouvement (The Laboratory of Movement Study,
LEM) to explore ‘the relationship between scenography, theatre, and their plastic representa-
tion’ (according to the School’s online brochure). A final aspect of the training was available
only to a very select, invited group – the third year of pedagogy, in which a student would
become an assistant teacher and develop a more profound understanding of the School’s
pedagogical approach. During the time that Lecoq taught at the school, approximately forty
students progressed through this stage, with some subsequently becoming employed as teach-
ers at the School.
The School’s training has formed practitioners who represent a wide range of accomplish-
ments and styles, from playwriting to devised theatre, and from movie naturalism to expres-
sive movement and fine art. This suggests that there are elements of Lecoq’s work that are
foundational to acting and theatre, allowing those who have experienced his training to use it
as a springboard for their own creativity. This analysis is supported by the synchrony of Lecoq’s
approach with recent discoveries of cognitive science about the relationship between action,
thought and language. Movement and other physical experiences in the material world are
the sources of metaphors that shape our conceptual thought. As thoughts are expressed in
language, they use the neural mechanisms of the sensorial experience that are the source of
the metaphor, evoking the original physical experience. Lecoq’s intuitive development of
an approach that is in tune with cognitive developmental patterns is expressed with almost
uncanny prescience:
[T]he laws of movement govern all theatrical situations. A piece of writing is a struc-
ture in motion. Though themes may vary (they belong to the realm of ideas), the
structures of acting remain linked to movement and its immutable laws.5
His fascination with and analysis of movement enabled him to develop a highly sophisticated
repertoire of physical exercises. Given the foundational nature of sensorimotor experience
to thought and language, it is evident that such a repertoire is more than a simply physical
experience for the actor, and provides a rich resource for the embodied expression of thought
through gesture, image, movement and space. For students at the School, the experience of
this training is often profound. Its personal legacy is a reservoir of creative inspiration; of the
inter-relationship between improvisation, movement and space; of physical engagement with
the world of elements, colours, materials, objects, animals and characters; and of playful the-
atrical collaboration and invention.
This book places Lecoq in context by describing his antecedents, influences and practice;
giving first-hand accounts of how key aspects of his pedagogy have inspired graduates of the
school; considering his influence within performance trends of the period; and reporting on
the wide and vibrant diaspora of companies, practitioners and teachers who have put his
principles into practice. The chapters are written by a wide range of teachers, practitioners
and scholars from many countries, who speak in many voices. We have deliberately sought to
allow each author to find the style of writing that best captures the nature of their subject mat-
ter and the quality of their experience of Lecoq’s work. We hope that this variety will prove
as inspiring to read as it has been to curate.
4
General introduction
Notes
1 Former graduates Jos Houben and Marcelo Magni have both performed in productions directed by
Brook, including Fragments, a selection of short plays by Samuel Beckett.
2 Dasté was a student at the École du Vieux-Colombier, run by Copeau and his assistant, Suzanne
Bing. Bing was responsible for a period of highly influential work on the Japanese Noh Theatre,
including a student production of the play Kantan. Lecoq refers to his own fascination with Noh
Theatre in Lecoq, J. (2000: 4), The Moving Body: Teaching Creative Theatre, London: Methuen.
3 The workshop set up by Amleto Sartori (1915–1962) is now run by his son Donato as the Centro
Maschere e Strutture Gestuali in Padua.
4 Lecoq, J. with Carasso, J. G., Lallias, J. C., trans. David Bradby (2001: 5). The Moving Body. Abing-
don & New York: Routledge.
5 Ibid.: 21
5
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Middletown, CT: Wesleyan University Press.
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——— (2008) L‘anthropologie du geste. Paris: Gallimard.
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Information, 13, 7.
——— (1968) Du mime au théâtre – L’école Jacques Lecoq

s’ouvre au public. T.E.P. (Théâtre de l’Est Parisien),
Maison de la Culture, 49, 5.
——— (1974) Le corps et son espace.

Conférence-démonstration. In: Notes méthodologiques en
architecture et en urbanisme – Semiotique de l’espace. n.
3–4, Centre M.M.I – Institut de l’Environnement, Paris,
January 1974, pp. 273–281.
— —— (1995) L.E.M. Mouvement et espace. Actualité de la

Scénographie, 74, 48–49, 15th Kune 1995.
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Scheffler. 12th April and 16 May 2011, Paris.
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Temoignage et souvenirs. As – Actualité de la
Scénographie, 24, 48–63.
Ritorno all’espressione fisica dell’attore. (1970) Atti

della tavola rotonda Internazionale del 19 settembre 1969.
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Teatro di Prosa, 1969. Venezia: Nouva Editoriale, 11
settembre.
Scheffler, I. (2013) O laboratório de estudo do movimento e

o percurso de formação de Jacques Lecoq. 2 v. Doctoral
Thesis. Universidade do Estado de Santa Catarina, Centro de
Artes, Programa de pósgraduação em Teatro, Florianópolis,
Brazil.
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au XXe siècle: l’école Jacques Lecoq. Doctoral Thesis.
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UNITÉ Pédagogique d’Architecture n° 6. École d’Architecture

de Paris La Vilette. (1981) Activités d’Enseignement
1981–1982. 4th quarter 1981, 386 p. Translated by: Marie
Ann Wangen Krahn with assistance from Mark Evans and Rick
Kemp. As an extension of the courses given by Jacques Lecoq
to the architect students at the Paris School for Fine
Arts (École Nationale supérieure des Beaux-Arts), Jacques
Lecoq created in 1976 a stage design department, the L.E.M.
(Laboratory of Movement Study) with the architect Krikor
Belekian who directed it until June 2011. The L.E.M. is
now run by Pascale Lecoq, architect and stage designer,
with a team of teachers from the school. (École Jacques
Lecoq, 2016)
The following photographs have been kindly supplied by
Richard Lecoq to give examples of
the recent work of students on the LEM course. École

Jacques Lecoq, 2016.
http://www.ecole-jacqueslecoq.com/en/lem_en-000003.html
accessed April 26, 2016 LEM (LE LABORATOIRE D’ÉTUDE DU
MOUVEMENT) – THE LABORATORY OF MOVEMENT STUDY
Figures 21.1–21.5 Images illustrate the work of the LEM,

where students work with structure, space, colour, and
movement. © Richard Lecoq.
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22 Lecoq, emotion and embodied cognition
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23 Lecoq’s influence on UK drama schools
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24 Moving medicine
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25 British movement directors
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34 Jacques Lecoq, Ariane Mnouchkine and
the Théâtre du Soleil
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THE ROUTLEDGE COMPANION TO

List of figures xii

1 The French theatrical avant-garde 12

2 Mime, ‘mimes’ and miming 19

3 The rediscovery of the mask 27

4 Jacques Lecoq and the challenge of Modernist theatre, 1945–1968 35

5 Jacques Lecoq and the studio tradition 43

6 Bachelard, Jousse and Lecoq 51

7 Space and mimesis 59

8 Movement made visible: Marey and Lecoq 67

9 Literature, Lecoq, and the ‘nouveau roman’79

10 The body voice of satire: Jacques Lecoq and Dario Fo 87

11 The influence of sports on Jacques Lecoq’s actor training 104

12 What works and what doesn’t work: On play 112

13 Neutral mask – a life’s journey 119

15 Full-face masks, pantomime blanche and cartoon mime 135

16 Commedia dell’arte and Comedie Humaine142

17 The Chorus 150

18 Bouffons and the grotesque 157

19 Auto-cours, enquêtes, commandes: A theatre practitioner’s perspective 165

20 Lecoq’s clown and its application to playing Shakespeare’s clowns 171

21 Laboratory of Movement Study 179

22 Lecoq, emotion and embodied cognition 199

23 Lecoq’s influence on UK drama schools 208

24 Moving medicine 218

25 British movement directors 227

26 Contemporary circus 236

27 Lecoq training and Asian theatre practice 244

28 Locating the body in English language teaching 251

29 Language and the body 260

30 Lecoq and Shakespeare 268

31 Lecoq, neuroscience, and Acadian community theatre 275

32 Lecoq and architecture 284

33 Dear Jacques . . . Lecoq in the twenty-first century 292

34 Jacques Lecoq, Ariane Mnouchkine and the Théâtre du Soleil 307

35 The Magic Flute and L’École Jacques Lecoq: A conversation between

36 Lecoq and Complicite 323

37 Theatre Ad Infinitum and Jacques Lecoq 330

38 Lecoq practitioners in the UK 337

39 The actor/creator and three American ensembles 347

40 Pig Iron: Disponibilité and observation 356

41 The Toronto connection: Lecoq and English Canada 363

42 La Mancha Theatre Company and School, Chile 372

44 Clown – trial by errors 388

45 Lecoq and film 398

I.1 Lecoq demonstrating movement exercise. 2

43.1 Every Year, Everyday I Am Walking. Magnet Theatre. 385

Pardis Dabashi is a doctoral candidate at Boston University in the department of English

Normand L. Godin is Professor Emeritus of French Literature at Université Sainte-Anne,

Bruce McConachie, Professor of Theatre and Performance Studies at the University of

fictions of W. G. Sebald and contemporary performance. He is also co-founder/editor of the

Sara Romersberger is Associate Professor of Theatre/Movement, Southern Methodist Uni-

Suzy Willson is Co-Artistic Director of Clod Ensemble, an award-winning performance com-

Figure I.1 Lecoq demonstrating movement exercise. © DR.ÉcoleJacquesLecoq.

Evans, Mark (2015) ‘The Myth of Pierrot’, in Chaffee, J. &

Lecoq, J. (2000) The Moving Body: Teaching Creative

Artaud, A. (1978). The Theatre and Its Double (trans. V.

Copeau, J. (1990). Texts on Theatre. (ed. J. Rudlin &

Lecoq, J. (2000). The Moving Body. London: Methuen.

Lecoq, J. (2006). Theatre of Movement and Gesture. London

Nietzsche, F. (1967). The Birth of Tragedy (trans. W.

Rudlin, J. (1986). Jacques Copeau. Cambridge: Cambridge

Strindberg, A. (1976). Plays: One. London: Methuen.

List of figures xii

1 The French theatrical avant-garde 12

2 Mime, ‘mimes’ and miming 19

3 The rediscovery of the mask 27

4 Jacques Lecoq and the challenge of Modernist theatre, 1945–1968 35

5 Jacques Lecoq and the studio tradition 43

6 Bachelard, Jousse and Lecoq 51

7 Space and mimesis 59

8 Movement made visible: Marey and Lecoq 67

9 Literature, Lecoq, and the ‘nouveau roman’79

10 The body voice of satire: Jacques Lecoq and Dario Fo 87

11 The influence of sports on Jacques Lecoq’s actor training 104

12 What works and what doesn’t work: On play 112

13 Neutral mask – a life’s journey 119

15 Full-face masks, pantomime blanche and cartoon mime 135

16 Commedia dell’arte and Comedie Humaine142

17 The Chorus 150

18 Bouffons and the grotesque 157

19 Auto-cours, enquêtes, commandes: A theatre practitioner’s perspective 165

20 Lecoq’s clown and its application to playing Shakespeare’s clowns 171

21 Laboratory of Movement Study 179

22 Lecoq, emotion and embodied cognition 199

23 Lecoq’s influence on UK drama schools 208

24 Moving medicine 218

25 British movement directors 227

26 Contemporary circus 236

27 Lecoq training and Asian theatre practice 244

28 Locating the body in English language teaching 251

29 Language and the body 260

30 Lecoq and Shakespeare 268

31 Lecoq, neuroscience, and Acadian community theatre 275

32 Lecoq and architecture 284

33 Dear Jacques . . . Lecoq in the twenty-first century 292

34 Jacques Lecoq, Ariane Mnouchkine and the Théâtre du Soleil 307

36 Lecoq and Complicite 323

37 Theatre Ad Infinitum and Jacques Lecoq 330

38 Lecoq practitioners in the UK 337

39 The actor/creator and three American ensembles 347

40 Pig Iron: Disponibilité and observation 356

41 The Toronto connection: Lecoq and English Canada 363

42 La Mancha Theatre Company and School, Chile 372

44 Clown – trial by errors 388

45 Lecoq and film 398

I.1 Lecoq demonstrating movement exercise. 2

43.1 Every Year, Everyday I Am Walking. Magnet Theatre. 385