The Moving Body

The Moving Body

Jacques Lecoq Jean-Gabriel Carasso Jean-Claude Lallias Simon McBurney / Jul 18, 2019

The Moving Body Until his death in Jacques Lecoq taught indefatigably at the International Mime and Theatre school he founded in Here for the first time in English and in Lecoq s own words are his philo

  • Title: The Moving Body
  • Author: Jacques Lecoq Jean-Gabriel Carasso Jean-Claude Lallias Simon McBurney
  • ISBN: 9780413771940
  • Page: 190
  • Format: None
  • Until his death in 1999, Jacques Lecoq taught indefatigably at the International Mime and Theatre school he founded in 1956 Here, for the first time in English, and in Lecoq s own words, are his philosophy and his teaching methods probably the greatest influence on world theatre over the last thirty years In chapters entitled Personal Journey, The World and its MovemenUntil his death in 1999, Jacques Lecoq taught indefatigably at the International Mime and Theatre school he founded in 1956 Here, for the first time in English, and in Lecoq s own words, are his philosophy and his teaching methods probably the greatest influence on world theatre over the last thirty years In chapters entitled Personal Journey, The World and its Movements, The Road to Creativity, New Perspectives, Lecoq sets out his unique architecture of the body in space and explains his most famous techniques such as neutral mask, acrobatics, bouffons and the grotesque and play, and discusses the actor s approach to situation, character, environment, emotion, physical and vocal preparation and of course movement In life I want students to be alive, and on the stage I want them to be artists Jacques Lecoq

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      190 Jacques Lecoq Jean-Gabriel Carasso Jean-Claude Lallias Simon McBurney
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      Published :2018-09-24T22:26:04+00:00

    About "Jacques Lecoq Jean-Gabriel Carasso Jean-Claude Lallias Simon McBurney"

      • Jacques Lecoq Jean-Gabriel Carasso Jean-Claude Lallias Simon McBurney

        Jacques Lecoq is regarded as one of the twentieth century s most influential teachers of the physical art of acting He was born 15 December in Paris, France and participated and trained in various sports as a child and as a young man During World War II he began exploring gymnastics, mime, movement and dance with a group who used performance to express their opposition to the German occupation of France After the war, Lecoq then studied mime with Jean Daste, a former pupil of the acclaimed teacher of mime, Jacques Copeau who introduced him to masked performance and Japanese Noh theatre He left Grenoble and spent six months teaching mask work in Germany, before accepting another teaching position at the University of Padua in Italy He spent eight years in Italy teaching and working as a creative practitioner and discovered the traditional and popular Italian theatre style of commedia dell arte as well as the tradition of masked chorus work developed in Ancient Greek tragedy He returned to Paris in 1956 and opened his own school, the Ecole Internationale de Mime et de Theatre which has had many homes in Paris over the years but has continued to attract large numbers of students from all over the world Lecoq also toured with demonstrations of his physical art of the actor and periodically conducted classes in Britain that had an enormous impact on the development of British theatre He was awarded the prestigious Legion d Honneur in 1982 and continued to take classes at his school right up to the day before his death on January 19, 1999.


    494 Comments

    1. The great French actor Jacques Lecoq describes his 2-year program for actors and some of the philosophy behind it. What interested Lecoq was finding the drama in movement and gesture. He distinguished between mechanical and meaningful gesture, and of course was in favor of the latter. He said that meaningful gesture could indicate (like pointing something out), it could take action (like trying to stop somebody from entering a room) or it could represent attitude (a head bowed in grief). These i [...]


    2. I've been watching a lot of 8 1/2, and I keep on thinking of this book, Proust, Fitzgerald, House of Leaves and just get this feeling that this stuff works together or is related or something like that.The first time that I saw Fellini's 8 1/2 my mind immediately raced back to this book and to its focus on a total body way of making, or in this case expressing, art. 8 1/2 had that same feeling that lingered around it's edges, in its dark places, and in its jests. It was a total experience, somet [...]


    3. You're getting Lecoq talking about his philospophy of stage movement. It's not a textbook or exercise book but a grounding in the elements of the Lecoq method. A must read if you're interested in his school of thought.


    4. This review or comment is not about this book,is about what´s inside this book Lecoq was already extraordinary on what he had already created,his style and technique I believe is something that many of us are hoping will last until at least the end of our time but on top of that he left a legacy in writing, his teachings.Thank you Jacq,there are not enough words to thank you for what you have left us. . .


    5. It's great to get the word straight from the horse's mouth. It's not the most engaging writing in the world but it is cool to get a sense of what he was really about. The resource of exercises he used over the years makes it all worthwhile. After years of hearing his ideas second (or third or fourth hand) it seemed important to know what he really meant to say.


    6. Buen libro. Le falta ser un poco más minucioso en la descripción de ejercicios y argumentar un poco más sólidamente las bases de sus teorías (es decir, no limitarse a decir lo que hace, sino por qué hace eso y busca eso). Si uno tiene ya una cierta base teórica y conoce un poco este tipo de teatro, es productivo. Si no, quizá sea mejor empezar por otro autor.


    7. I was told that I was too young to understand this book, but I took my time and really dove into this book and it is truly amazing. I hope to get my own copy soon and read it again and leave notes for myself. This is why I love theatre.


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