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Here is a mood board for inspiration Pinterest
BOURGEONNEMENT – budding, sprouting, burgeoning
I practice what was called of Grotowski, the via negativa – a path with no single right way but where we observe our less useful habits that once recognised we may choose to avoid.
In all exercises rules are meant to be understood before being broken. Even that rule.
So, we are always seeking that 5th element – the ethereal connection between players and audience which Lecoq terms complicité.
Psychology has adopted the physical fluid ‘humours’ into current thinking as the predispositions – sanguine, phlegmatic, choleric and melancholic. Perhaps the inspiration of the muses is part of ethereal connectivity: epic poetry, history, music, comedy, tragedy, dance, lyric poetry, sacred poetry and astronomy.
In simplest terms with our discussion the constant state we are embracing is “le jeu” or play.
Suzanne Bing is a useful teacher for understanding the development of “le jeu” which came from her work with children and Margaret Naumburg in New York just after the first world war. I highly recommend reading Cass Fleming’s comparison of Bing and Chekhov.
Quick resource list (bigger list at the bottom):
- Fleming C (2013) A genealogy of the embodied theatre practices of Suzanne Bing and Michael Chekhov: the use of play in actor training. De Montfort University, Leicester.
- Lecoq J, Carasso J-G, Roy J-Nl, et al. (2006) Les deux voyages de Jacques Lecoq [videorecording]. France: On Line Productions : SCÉRÉN-CNDP.
- Lecoq J (1997) Le Corps Poétique. un enseignement de la création théâtral. Paris: Actes Sud-Papiers.
- Lavy J (2005) Theoretical Foundations of Grotowski’s Total Act, Via Negativa, and Conjunctio Oppositorum. The Journal of Religion and Theatre 4(2).
Remember that criticism is not defining what is right or wrong, it is observation of what an audience sees so you are aware of what you play.
Lecoq J (1997) Le Corps Poétique. un enseignement de la création théâtral. Paris: Actes Sud-Papiers.
Everett L (2002) The influence of the Lecoq school on Australian theatre. PhD, University of New England.
Taymor J (1999) Julie Taymor: From Jacques Lecoq to The Lion King. The Drama Review 43(3): 36-55.
Lecoq J (2006) The theatre of movement and gesture. Abingdon, [England] ; New York: Routledge.
Anonymous (2001) review of The Moving Body by Jacques Lecoq. American Theatre 18(10): 76.
Rolfe B (1972) The Mime of Jacques Lecoq. The Drama Review: TDR 16(1): 34-38.
Thompson SW (2007) Tout ensemble: The actor/creator and the influence of the pedagogy of Jacques Lecoq on American ensembles. Ph.D, Tufts University, Ann Arbor.
Times T (2004) Tasks no longer lost in translation. Times Higher Education Supplement.(1655): 26-26.
Leabhart T (1989) Modern and post modern-mime. London: Macmillan Education.
Murray S (2003) Jacques Lecoq. London: Routledge.
Chamberlain F and Yarrow R (2002) Jacques Lecoq and the British theatre. London: Routledge.
Lecoq J, Carasso J-G, Roy J-Nl, et al. (2006) Les deux voyages de Jacques Lecoq [videorecording]. France: On Line Productions : SCÉRÉN-CNDP.
Rudlin J (1986) Jacques Copeau. Cambridge Cambridgeshire ; New York: Cambridge University Press.
Kurtz M (1999) Jacques Copeau : biography of a theater. Carbondale, Ill.: Southern Illinois University Press.
Knapp BL (1988) The reign of the theatrical director : French theatre, 1887-1924. Troy, N.Y.: Whitston Pub. Co.
Copeau J, Daste MH and Saint-Denis SM Appels, textes recueillis et etablis par M.H.Daste et S.M.Saint-Denis.
Fauny-Anders F (1959) Jacques Copeau et le Cartel des quatre. Paris,: A. G. Nizet.
Bibliothèque nationale (France) Jacques Copeau et le Vieux-Colombier: exposition organisee pour le cinquantieme anniversaire de la fondation du Theatre et l’entree, a la Bibliotheque de l’Arsenal, de la collection Jacques Copeau.
Donahue TJ and Ebrary. (2008) Jacques Copeau’s friends and disciples the Théâtre du Vieux-Colombier in New York City, 1917-1919. Francophone cultures and literatures,. New York: P. Lang,, electronic text.
Copeau J and Gontard D Le journal de bord des Copiaus, 1924-1929.
Copeau J and Sicard C (1991) Journal, 1901-1948. Paris: Seghers.
Fleming C (2013) A genealogy of the embodied theatre practices of Suzanne Bing and Michael Chekhov: the use of play in actor training. De Montfort University, Leicester.
Taylor SD (2008) French Tragic Farce in an Age of Interpellation: Michel Azama’s Croisades and Hervé Blutsch’s Anatole Felde. Modern Drama 51(2).
Tunstall D (2012) Shakespeare and the Lecoq Tradition. Shakespeare Bulletin 30(4): 469-484.
Tian M (2014) Theater of Transposition: Charles Dullin and the East Asian Theater. Comparative Drama 48(4): 333-370.
Gillespie JK (1982) Interior Action: The Impact of Noh on Jean-Louis Barrault. Comparative Drama 16(4): 325-344.
Murphy M and Sherman JF (2013) Lecoq’s Pedagogy: Gathering up Postwar Europe, Theatrical Tradition, and Student Uprising. In: Syssoyeva KM and Proudfit S (eds) Collective Creation In Contemporary Performance. New York: Palgrave Macmillan.
Syssoyeva KM and Proudfit S (2013) Collective creation in contemporary performance.
Purcell-Gates L (2017) Puppet bodies: reflections and revisions of marionette movement theories in Philippe Gaulier’s Neutral Mask pedagogy. Theatre, Dance and Performance Training 8(1): 46-60.
Campos L (2017) Wired Brains and Living Networks: Simon McBurney’s Micropoetics, from Mnemonic to The Encounter. Contemporary Theatre Review 27(4): 497–511.
(2016) Women, Collective Creation, and Devised Performance The Rise of Women Theatre Artists in the Twentieth and Twenty-First Centuries. New York: Palgrave Macmillan US.
Everett L (2008) Moving bodies : Jacques Lecoq and drama education in Australia. NJ (Drama Australia Journal) 31(2): 73-82.
Scheffler I (2018) The neutral mask and Jacques Lecoq: historical, plastic and pedagogical considerations. Urdimento-Revista De Estudos Em Artes Cenicas 2(32): 279-304.
Sherman JF (2010) The Practice of Astonishment: Devising, Phenomenology, and Jacques Lecoq. Theatre Topics 20(2): 89-99.
Pascetta NL (2015) Embodying English Language: Jacques Lecoq and the Neutral Mask. York University, Toronto, Ontario.
Ovalioglu N (2010) The female bouffon. ProQuest Dissertations Publishing.
Cornford T (2016) Jacques Lecoq and the Studio Tradition. In: Kemp MEaR (ed) The Routledge Companion to Jacques Lecoq. London: Routledge, pp.444.
Pichlíková L (2017) Performing in Mask: Michael Chekhov’s Pedagogy, Commedia and Mime. Critical Stages/Scènes critiques The IATC journal/Revue de l’AICT.(15).
Baldwin J (2016) Raising the Curtain on Suzanne Bing’s Life in the Theatre. In: Syssoyeva KM (ed) Women, Collective Creation, and Devised Performance: The Rise of Women Theatre Artists in the Twentieth and Twenty-First Centuries. New York: Palgrave Macmillan, pp.29-50.
Ideas for making masks: