The Moving Body (Le Corps Poétique): Teaching Creative Theatre: Theatre Makers
Autor Jacques Lecoq Traducere de David Bradby Cuvânt înainte de Simon McBurneyen Limba Engleză Paperback – 8 iul 2020
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Specificații
ISBN-13: 9781474244763
ISBN-10: 1474244769
Pagini: 232
Dimensiuni: 156 x 234 x 17 mm
Greutate: 0.41 kg
Ediția:3
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Theatre Makers
Locul publicării:London, United Kingdom
ISBN-10: 1474244769
Pagini: 232
Dimensiuni: 156 x 234 x 17 mm
Greutate: 0.41 kg
Ediția:3
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Theatre Makers
Locul publicării:London, United Kingdom
Caracteristici
Through this book, readers learn about Lecoq's unique philosophy of performance, improvisation, masks, movement and gesture, which together form one of the greatest influences on contemporary theatre
Notă biografică
Jacques Lecoq (b. Paris, 1921) was an actor, mime and acting instructor. His physical theatre and movement methods, taught at L'École Internationale de Théâtre Jacques Lecoq, made him famous throughout the world. As an actor he performed with Dario Fo in Italy. As a teacher he was widely regarded as a master in his field, and his school remains an unrivalled centre for the art of physical theatre.
Cuprins
Foreword by Simon McBurney1. Personal Journey2. The World and Its Movements3. The Roads to Creativity4. New Beginnings
Recenzii
He taught us how to be artists
In a very accessible language and with clear exemplifications and illustrative drawings, Lecoq sheds light on a vision of mime considered as training for theatre and for life . Both for the actor, and for the researcher interested in Lecoq's theatre, this book is an essential read; for the theatre historian it is also a theoretical source on "dramatic mime" and on the expressive body that transversally influenced dance and theatre in the twentieth century.
In a very accessible language and with clear exemplifications and illustrative drawings, Lecoq sheds light on a vision of mime considered as training for theatre and for life . Both for the actor, and for the researcher interested in Lecoq's theatre, this book is an essential read; for the theatre historian it is also a theoretical source on "dramatic mime" and on the expressive body that transversally influenced dance and theatre in the twentieth century.