Jacques lecoq 7 levels of tension

Jacques lecoq techniques
Lecoq drama
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An overview

Philosophical and theatrical approach

Jacques Lecoq was involved in the process of social, political and cultural renewal after World War 11. He wanted to rethink the nature of text based theatre and to create a theatre for the future; a theatre that was universal. He worked on body centred training in an attempt to explore the physical, cognitive and emotional states which directly related to the operations and functions of motion, rhythm, shape, balance and counter balance. This acting approach explores the artistic impulse within muscle memory and the capacity for the individual to express an idea through attuned sensory receptors of the body.

His school L 'Ecole Internationale de Theatre Jacques Lecoq in France became a place for him to develop new ways of working with the actor. The Lecoq actor training lasts for two years. The first year is devoted to observation of the world and of the movements in it such as exploring the natural elements, animals, words, sound and colour as well as in-depth exploration of the neutral mask, and moves from sil

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Jacques Lecoq

Lecoq’s interactions with patients taught him that the body remembers; that there was significance in knowing one’s body and how to use it. His work in rehabilitation and physiotherapy made him realise the potential of the body and steered his interest towards movement and physicality.

JAcques Lecoq’s first revelation of theatre was when he met Jean-Marie Conty at Bagatelle College for physical education.

By then, Conty was an international basketball player, a pilot for the Aéropostal Company with Saint-Exupery, and he was in charge of physical education for all of France. To top it off, he was Jacques Lecoq’s passport to the discovery of mime. Conty was friends with Antonin Artaud as well as Jean-Louis Barrault, who was a director and actor who revived post-war French theatre. Both artists exposed Conty to theatre and mime, instilling in him a curiosity about the bond between sports and physical expression. It was thanks to Conty that Lecoq discovered the physicality of Barrault’s mime movement and became attracted to theatre. His first theatr

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Born in Paris 15 December 1921. From the year 1937 he taught physical education and sport. From the year 1941 to 1945 he was professor of sport and physical education, an accredited trainer of the French federation of athletics and swimming. Through teaching of physical education he became close to Jean-Marie Conty, head professor of physical education, friend of Antonin Artaud and Jean-Louise Barrault.

In the year 1945 he first became involved in acting together with Gabrielem Cousin, with which he established a theatre company. Further he was engaged by Daniel Dastén into the group „Comédiens de Grenoble“ and was head of physical training. Discovered mask work and Copeaus spirit (Jacques Copeau – French actor, director teacher and theatre reformist), which he, as we can see later, inherited.

In the year 1948 he left for eight years to Italy. In Padua at the university theatre he created his first pantomimes. At town markets he discovered Commedia dell´Arte. Met with sculptor Amlet Sartori and began to study masks with him. From their cooperation, am