By Jacques Lecoq
Jacques Lecoq used to be the most inspirational theatre academics of our age. The foreign Theatre tuition he based in Paris continues to be an unrivalled middle for the artwork of actual theatre. In The relocating Body, Lecoq stocks his specified philosophy of functionality, improvisation, mask, flow and gesture which jointly shape one of many maximum affects on modern theatre.
Neutral masks, personality masks, and counter mask, bouffons, acrobatics and commedia, clowns and complicity: the entire well-known Lecoq suggestions are lined right here - innovations that experience made their means into the paintings of former collaborators and scholars together with Dario Fo, Julie Taymor, Ariane Mnouchkine, Yasmina Reza and Theatre de Complicité.
This paperback variation includes a Foreword through Simon McBurney, creative Director of Complicité and an Afterword through Fay Lecoq, Director of the foreign Theatre institution in Paris.
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Additional info for The Moving Body (Le Corps Poetique): Teaching Creative Theatre
Sample text
A permanent link is established between these two activities. On the one hand, through improvisation, we externalise what is latent within the students; on the other, through objective study of movement techniques, we allow them to work from the outside in. In the area of improvisation, there are successive stages which shape the first year’s curriculum. Alongside these, movement analysis is also approached through a structured, developmental course. At the same time, students work on body and voice, and take classes in dramatic acrobatics, juggling and stage fighting.
This highly structured scale will become a reference point for all the other scales we shall meet subsequently, in a variety of dramatic situations. The exercise is especially useful for understanding the progressive dynamics of a movement, but also for the technical knowledge of the movements imposed by a scale. How is the action changed by the volume of the sounds? Are the gestures you make different according to the importance given to what you hear? What are the links between action and reaction?
Natural elements, materials, animals, colours, lights, sounds and words are discovered through the miming body and later enrich character acting. Different levels of acting are developed, from replay with expressive and character masks to abstract masks, forms and structures. The constraints of style create a different kind of reality. The technical part, based on movement analysis, follows a thematic series of improvisations. Exercises develop the receptive and expressive potential of the human body (physical and vocal preparation, dramatic acrobatics, analysis of physical actions).