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 RushGeneral IntroductionMark Evans and Rick KempPart IInfluences and AntecedentsIntroduction 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, 1945-1968Bruce 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 LecoqClare 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 IIInspirations and EvolutionsIntroduction Rick Kemp The Influence of Sports on Jacques Lecoq’s Actor TrainingMark 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 BartókJennie Gilrain (US) Full Face Masks, Pantomime Blanche and Cartoon MimeDavid 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 PerspectiveCarlos García Estévez (ES) Lecoq's Clown and its Application to Playing Shakespeare's ClownsSara Romersberger (US) Laboratory of Movement Study Ismael Scheffler (BRA)Part IIIRicochets and reverberationsIntroduction 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 CenturySimon 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)

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