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1

Scheffler, Ismael. "JACQUES LECOQ E O LABORATÓRIO DE ESTUDOS DO MOVIMENTO (LEM): DA ESCOLA DE ARQUITETURA A UM ESPAÇO AUTÔNOMO DE CENOGRAFIA EXPERIMENTAL." Cena, no. 27 (January 12, 2019): 47–59. http://dx.doi.org/10.22456/2236-3254.87785.

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O presente artigo apresenta aspectos históricos sobre a criação do Laboratório de Estudo do Movimento (LEM) junto a Escola Internacional de Teatro Jacques Lecoq, em 1976, em atividade até os dias de hoje na França. São realizadas considerações sobre a reforma no sistema de ensino de arquitetura na França em decorrência das manifestações estudantis de 1968, contexto que levou Jacques Lecoq a ingressar como professor junto à Unidade Pedagógica de Arquitetura n. 6 (UP6) da Escola Nacional Superior das Belas Artes de Paris, atualmente Escola Nacional Superior de Arquitetura de Paris La Villette, o
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2

Russell, Amy. "Against the “Lecoq canon”." Theatre, Dance and Performance Training 11, no. 3 (2020): 370–77. http://dx.doi.org/10.1080/19443927.2020.1791485.

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3

Murphy, Maiya. "Enacting the Consequences of the Lecoq Pedagogy's Aesthetic Cognitive Foundation." Theatre Survey 58, no. 3 (2017): 326–51. http://dx.doi.org/10.1017/s0040557417000278.

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The theatre pedagogy of Jacques Lecoq (1921–99) is founded on the principle that all physical, psychological, intellectual, and emotional performance registers can be accessed by prioritizing the moving body. Therefore, a Lecoq-based approach is in contrast to dominant principles of psychologically based acting that privilege working through emotion and psychology. While Lecoq pedagogy does not discount these performance registers, normally considered to belong to the “internal” world of the actor, Lecoq's work reaches them through physical action. Lecoq pedagogy considers it possible to learn
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Souza de Oliveira, Erico José. "CORPO-MÁSCARA E TRANSCULTURALIDADE NO PROCESSO CÊNICO VALSE Nº 6, DE NELSON RODRIGUES: ESPETÁCULO FRANCO-BRASILEIRO DA CIE. D’ART-D’ART (MAUGES-SUR-LOIRE-FRANÇA) E DO COLE- COLETIVO LIVRE DE ESPETÁCULOS (SALVADOR-BAHIA-BRASIL)." O Teatro Transcende 22, no. 1 (2017): 61. http://dx.doi.org/10.7867/2236-6644.2017v22n1p61-75.

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A partir da encenação de Valse nº 6, de Nelson Rodrigues, evidencio a noção de Transculturalidade (Fernando Ortiz). Através da poética (Luigi Pareyson) instaurada na construção deste espetáculo, em consonância com as práticas artístico-pedagógicas da Escola Internacional de Teatro Jacques Lecoq, em Paris (Paola Rizza, Jacques Lecoq, Guy Freixe), abordo a noção de Corpo-Máscara e suas implicações teórico-práticas no seio de uma criação artística.
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5

Tunstall, Darren. "Shakespeare and the Lecoq Tradition." Shakespeare Bulletin 30, no. 4 (2012): 469–84. http://dx.doi.org/10.1353/shb.2012.0092.

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6

Stankovic, Pola. "Jacques Lecoq and the Canadian Theatre." Canadian Theatre Review 183 (June 1, 2020): 50–54. http://dx.doi.org/10.3138/ctr.183.010.

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7

Borges, Gastón. "Presencia del teatro de bufones en El fabricante de fantasmas de Roberto Arlt." ESCENA. Revista de las artes 78, no. 1 (2018): 46. http://dx.doi.org/10.15517/es.v78i1.33790.

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Este artículo propone un análisis comparativo entre la obra teatral de Roberto Arlt: El fabricante de fantasmas y el teatro de bufones según lo describe Jacques Lecoq en El cuerpo poético. En primer lugar, intentaremos esclarecer algunos conceptos manejados por Lecoq para describir su propuesta escénica relacionándolos con la tradición del arte grotesco de occidente. Luego de abordar estos conceptos del género bufonesco, desde la perspectiva del arte grotesco pasamos al análisis comparativo con la obra de Roberto Arlt para intentar trazar correspondencias entre estas poéticas distantes. Creemo
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8

Scheffler, Ismael. "Jacques Lecoq e a Antropologia do gesto de Marcel Jousse." PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG 9, no. 17 (2019): 218–54. http://dx.doi.org/10.35699/2237-5864.2019.15731.

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Este artigo trata sobre a pedagogia teatral do francês Jacques Lecoq estabelecendo relações com os estudos da Antropologia do gesto de Marcel Jousse. O estudo tem caráter histórico e também conceitual. Ele demonstrando como Lecoq tomou conhecimento das pesquisas de Jousse e indica influências sobre seu ensino, notadamente no que tange ao mimo e no oferecimento de um vocabulário mais apropriado a sua pesquisa. São utilizadas diferentes fontes documentais, como artigos raros de periódicos, pesquisas acadêmicas, bibliografias, entrevistas e documentários, a maior parte em língua francesa inéditos
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9

Freixe, Guy. "LE CLOWN DANS L'ENSEIGNEMENT DE JACQUES LECOQ." Cena, no. 24 (March 6, 2018): 46. http://dx.doi.org/10.22456/2236-3254.70443.

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Le présent article nous montre que la pratique du style clown développé à l`École Internationale de Mime, Théâtre et Mouvement Jacques Lecoq appartient à la tradition de l`École du Vieux Colombier créée par Jacques Copeau dont le fondement est l`esprit enfantin et le jeu.
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10

Freixe, Guy. "O CLOWN NO ENSINO DE JACQUES LECOQ." Cena, no. 24 (March 6, 2018): 37. http://dx.doi.org/10.22456/2236-3254.77554.

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O presente artigo nos mostra que a prática do estilo clown tal como é desenvolvida na Escola Internacional de Mimo, Teatro e Movimento de Jacques Lecoq pertence à tradição da Escola do Vieux Colombier criada por Jacques Copeau, que tem como base o espírito infantil e o jogo.
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11

Kemp, Rick. "The embodied performance pedagogy of Jacques Lecoq." Connection Science 29, no. 1 (2016): 94–105. http://dx.doi.org/10.1080/09540091.2016.1233521.

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12

Daboo, Jerri. "Konstantin Stanislavsky Michael Chekhov Vsevolod Meyerhold Jacques Lecoq." Theatre Survey 47, no. 1 (2006): 146–50. http://dx.doi.org/10.1017/s004055740638009x.

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The Routledge Performance Practitioners series, edited by Franc Chamberlain, is a new set of introductory guides to a range of key figures in the development of twentieth-century performance practice. Each book focuses on a single practitioner, examining his or her life, historical context, key writings, and productions, and a selection of practical exercises. These concise volumes are intended to offer students an initial introduction to the practitioner and to “provide an inspiring spring-board for future study, unpacking and explaining what can initially seem daunting” (Merlin, ii). The lis
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13

Irmler, Ulrich. "The Neotropical species of the genera Pseudespeson Lecoq, 1994 and Espeson Schaufuss, 1882 (Coleoptera: Staphylinidae: Osoriinae)." Beiträge zur Entomologie = Contributions to Entomology 62, no. 2 (2012): 331–60. http://dx.doi.org/10.21248/contrib.entomol.62.2.331-360.

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Eine Revision der neotropischen Arten der Gattungen Pseudespeson Lecoq, 1994 und Espeson Schaufuss, 1882 wurde durchgeführt. Während für die Gattung Pseudespeson Lecoq, 1994 keine neue Art gefunden werden konnte, wurden für die Gattung Espeson Schaufuss, 1882 sechs neue Arten beschrieben. Diese sind: E. adisi n. sp., E. dybasi n. sp., E. franiae n. sp., E. hermani n. sp., E. pecki n. sp., and E. simplex n. sp. Eine Art, E. lenkoi Scheerpeltz, 1970, wurde als neues Synonym zu E. moratus Schaufuss, 1882 gestellt. Daher sind insgesamt zurzeit 13 Arten der Gattung Espeson Schaufuss, 1882 vom Festl
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14

Mendus, Clive. "‘Competitive Co-operation’: Playing with Theatre de Complicite." New Theatre Quarterly 22, no. 3 (2006): 257–67. http://dx.doi.org/10.1017/s0266464x06000467.

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Clive Mendus joined Theatre de Complicite a year after its formation by Simon McBurney in 1983. Born in Cumbria in 1954, he shared classes with McBurney during training at the Ecole Jacques Lecoq in Paris, before returning to Britain to develop his acting career. In this interview with NTQ Co-Editor Maria Shevtsova, held in London in December 2004, Clive Mendus discusses aspects of his work at the Lecoq School, while his account of playing with Complicite – particularly in The Street of Crocodiles (1992) and Measure for Measure (2003) – sheds light on the improvisation processes which are char
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15

Schechner, Richard. "Julie Taymor: From Jacques Lecoq to The Lion King." TDR/The Drama Review 43, no. 3 (1999): 36–55. http://dx.doi.org/10.1162/105420499760347315.

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With her Broadway smash hit The Lion King, Taymor became one of America's most popular puppeteers. Her work is grounded in Indonesia, mime training with Jacques Lecoq, and her own decades-long experiments. In this interview, Taymor discusses the overall trajectory of her stage and film work.
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16

KOCIAN, MATÚŠ, and PETER HLAVÁČ. "Review of the genus Pseudolathra Casey, 1905 (Coleoptera: Staphylinidae: Paederinae) of Réunion Island." Zootaxa 4531, no. 3 (2018): 437. http://dx.doi.org/10.11646/zootaxa.4531.3.8.

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A review of all species of the genus Pseudolathra Casey, 1905 known from Réunion is presented. Five species are recorded and one species, Pseudolathra janaki Kocian & Hlaváč, sp. n., is described. New records for Pseudolathra gomyi (Lecoq, 1986) are given. Four species are illustrated and a key to all species is given.
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17

Leeney, Cathy. "Under the Influence Lecoq, the Body, and the Irish." Études irlandaises 33, no. 2 (2008): 65–73. http://dx.doi.org/10.3406/irlan.2008.1838.

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18

Jon Foley Sherman. "The Practice of Astonishment: Devising, Phenomenology, and Jacques Lecoq." Theatre Topics 20, no. 2 (2010): 89–99. http://dx.doi.org/10.1353/tt.2010.0104.

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19

Marocco, Inês Alcaraz, Elisa Heidrich, Kalisy Cabeda, Philipe Philippsen, and Rodrigo Fiatt. "O Pulo do Gato ou Reflexões sobre a Presença do Ator." Revista Brasileira de Estudos da Presença 1, no. 2 (2011): 312–30. http://dx.doi.org/10.1590/2237-266022791.

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RESUMO Este artigo tece reflexões sobre o desenvolvimento da presença física do ator através de um trabalho pré- expressivo com a técnica da Máscara Neutra, segundo o sistema pedagógico de Jacques Lecoq, numa experiência acadêmico/artística com alunos do curso de Teatro da Universidade Federal do Rio Grande do Sul durante o processo de criação do espetáculo O Sobrado.
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20

Freixe, Guy. "A IMPROVISAÇÃO E O JOGO COM MÁSCARA NA FORMAÇÃO DO ATOR." Cena, no. 23 (November 23, 2017): 184. http://dx.doi.org/10.22456/2236-3254.70441.

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Este artigo trata sobre a pedagogia do ator, onde as técnicas da máscara e da improvisação são as bases e instrumentos privilegiados para estabelecer o jogo . Esta formação tem como influência a filiação Jacques Copeau-Jacques Lecoq- Arianne Mnouchkine, cujos trabalhos privilegiam o jogo onde o homem age e pensa com o seu corpo, podendo inventar, com a máscara, um teatro poético..
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21

Potapushkina-Delfosse, Marie. "La créativité gestuelle et linguistique des élèves débutant l’apprentissage de l’anglais à l’école primaire." Voix Plurielles 13, no. 1 (2016): 76–85. http://dx.doi.org/10.26522/vp.v13i1.1371.

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Cet article étudie les phénomènes de créativité gestuelle et linguistique manifestés par les élèves de l'école primaire qui débutent leur apprentissage de l'anglais dans le cadre d'une approche multimodale reliant le geste, le théâtre, le conte, et basée sur la théorie de l'intussusception de Marcel Jousse, appartenant au champ de l’anthropologie linguistique. Le processus d’intussusception s’opère selon la logique suivante :
 - l’homme est agi par la réalité ;
 - les actions qu’il reçoit et rejoue (imprime et exprime) deviennent gestes ; 
 - le geste est d'abord global (impliqu
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22

Freixe, Guy. "L'IMPROVISATION ET LE JEU MASQUÉ DANS LA FORMATION DE L'ACTEUR." Cena, no. 23 (November 23, 2017): 174. http://dx.doi.org/10.22456/2236-3254.77117.

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Cet article traite sur la pédagogie de l`acteur dont les techniques du masque et de l`improvisation sont les fondements et les instruments privilégiés pour établir le jeu. Cette formation a comme influence la filiation Jacques Copeau-Jacques Lecoq-Ariane Mnouchkine, dont les travaux privilégient le jeu, où l'homme agit et pense avec tout son corps, pouvant inventer avec le masque un théâtre poétique.
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23

Redard, Céline. "Pierre Lecoq, Les livres de l’Avesta. Textes sacrés des Zoroastriens." Archives de sciences sociales des religions, no. 180 (December 1, 2017): 385–89. http://dx.doi.org/10.4000/assr.33965.

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24

Swennen, Philippe. "Pierre Lecoq (éd.) Les livres de l’Avesta. Les textes sacrés des Zoroastriens trad. par P. Lecoq, Paris, Éd. du Cerf, 2016, 1 366 p." Annales. Histoire, Sciences Sociales 74, no. 3-4 (2019): 844–47. http://dx.doi.org/10.1017/ahss.2020.78.

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25

Abou-Jawdah, Y., H. Sobh, and A. Fayyad. "First Report of Cucurbit Aphid-borne Yellows Luteovirus in Lebanon." Plant Disease 81, no. 11 (1997): 1331. http://dx.doi.org/10.1094/pdis.1997.81.11.1331d.

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Recently, Lecoq et al (1992) reported a new yellowing disease of cucurbits in France caused by cucurbit aphid-borne yellows luteovirus (CABYV) (1). Yellowing of older leaves of cucurbits has been observed in Lebanon for the past few years. Transmission tests showed that the disease incitant could be transmitted by Aphis gossypii in a persistent, circulative manner from muskmelon plants (Cucumis melo) to cucumber (C. sativus), muskmelon (C. melo), and squash (Cucurbita pepo) plants. Extracts from these plants reacted positively in enzyme-linked immunosorbent assays (ELISAs) with an antiserum pr
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26

Chapoulie, Jean-Michel. "LECOQ (Tristan), LEDERLÉ (Annick), Gustave Monod. Une certaine idée de l’école." Histoire de l'éducation, no. 122 (April 1, 2009): 153–54. http://dx.doi.org/10.4000/histoire-education.1978.

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27

Lutterbie, John. "Enacting Lecoq: Movement in Theatre, Cognition, and Life by Maiya Murphy." Journal of Dramatic Theory and Criticism 34, no. 2 (2020): 139–41. http://dx.doi.org/10.1353/dtc.2020.0014.

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28

Scheffler, Ismael. "A máscara neutra e Jacques Lecoq: considerações históricas, plásticas e pedagógicas." Urdimento 2, no. 32 (2018): 279–304. http://dx.doi.org/10.5965/1414573102322018279.

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29

Oliveira, Erico José Souza de. "Por trás da máscara: transculturalidade em Vsevolod Meierhold e Jacques Lecoq." DAPesquisa 9, no. 12 (2018): 03–16. http://dx.doi.org/10.5965/1808312909122014003.

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30

Rosin, Jordan. "Enacting Lecoq: Movement in Theatre, Cognition, and Life by Maiya Murphy." Theatre Topics 31, no. 1 (2021): 68–69. http://dx.doi.org/10.1353/tt.2021.0014.

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31

Bélenguier, Luc. "Hémiptères Pentatomoidea des collections du muséum Henri-Lecoq de Clermont-Ferrand." BIOM - Revue scientifique pour la biodiversité du Massif central 2, no. 1 (2021): 19–33. http://dx.doi.org/10.52497/biom.v2i1.285.

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L’inventaire des hémiptères Pentatomoidea des collections du muséum Henri-Lecoq a été réalisé en 2019. Six collections de naturalistes auvergnats rassemblant 210 spécimens ont été inventoriées. Cinq familles parmi les Pentatomoidea sont étudiées. Les données originales figurant sur les étiquettes et les identifications de 2019 sont présentées afin de valoriser cette connaissance historique et naturaliste. Les spécimens sont majoritairement originaires d’Auvergne mais concernent douze départements français métropolitains au total. La période couverte par les collectes s’étend de 1900 à 2005. Ce
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Murphy, Maiya. "Edward Gordon Craig’s Continuity of Life, Mind, and Spirit: a Cognitive View." New Theatre Quarterly 35, no. 04 (2019): 373–86. http://dx.doi.org/10.1017/s0266464x19000411.

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In this article Maiya Murphy uses the enactive paradigm of cognition to take a fresh look at Edward Gordon Craig’s experiments in the theatre. By focusing on his obsession with movement, Maiya Murphy argues that an autopoietic conception of life can recategorize his problems with, ideas about, and experiments in the theatre as a coherent but multifaceted effort to create a very particular kind of cognitive engagement. She explores how enaction’s concept of the continuity of life and mind can map out a meaningful logic embedded in Craig’s intuitions about the connections between cognition, aest
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GOULET, Andrea. "Lecoq cartographe : plan des lieux et terrains vagues dans le roman judiciaire." Romantisme 149, no. 3 (2010): 39. http://dx.doi.org/10.3917/rom.149.0039.

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34

Cruz, Pablo. "Patrice Lecoq. Uyuni Préhispanique. Archéologie de la Cordillère Intersalar (Sud-Ouest Bolivien)." Bulletin de l’Institut français d’études andines, no. 30 (1) (April 1, 2001): 182–85. http://dx.doi.org/10.4000/bifea.7364.

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35

Hesla, James. "The Routledge Companion to Jacques Lecoq eds. by Mark Evans and Rick Kemp." Journal of Dramatic Theory and Criticism 32, no. 2 (2018): 169–71. http://dx.doi.org/10.1353/dtc.2018.0016.

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36

Trabucco Valenzuela, Sandra. "LA CASA DE PAPEL E A MÁSCARA DE DALÍ: DO TEATRO AO CINEMA E À SÉRIE DE TV." Revista GEMInIS 12, no. 1 (2021): 85–101. http://dx.doi.org/10.53450/2179-1465.rg.2021v12i1p85-101.

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O presente trabalho discute, com base na série de TV La Casa de Papel (Netflix, 2017-2020), criada por Álex Pina, o conceito de máscara, aspectos de sua função nas artes e as relações intertextuais tecidas pela série, ao estabelecer diálogos com movimentos artísticos e culturais, que imprimem à narrativa características que a distinguem de outras fórmulas do gênero policial. Um dos símbolos que caracterizam a série é o uso da máscara de Dalí. Para a conceituação de máscara utiliza-se Berthold (2001) e Lecoq (2010); sobre Dalí e o Surrealismo, Dalí e Halsman (1954) e Teles (1986); para composiç
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Prette, Nailanita, and Bya Braga (Maria Beatriz Braga Mendonça). "Pesquisa Performativa:." DAPesquisa 15 (October 20, 2020): 01–18. http://dx.doi.org/10.5965/1808312915252020e0029.

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Este texto apresenta a pesquisa performativa como metodologia de estudo prático e criativo em uma investigação de mestrado acadêmico com base nos diálogos do corpo. Compartilhamos aqui os processos iniciais de pesquisa em andamento, nos quais são estudados os procedimentos pedagógicos corporais de Jacques Lecoq para o artista cênico, denominados como Sete Níveis de Energia. Apresentamos como a pesquisa performativa abraça nossas proposições para os estudos práticos realizados e também para a construção da escrita que emana dos laboratórios de pesquisa, construída por meio de diário de bordo. A
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Schmaltz, Amandine, Lydia Bardeau, and Gisèle Gérard. "Le musée à l’Hôpital : quand le muséum Henri-Lecoq rencontre les enfants du CHU." La Lettre de l’OCIM, no. 157 (January 1, 2015): 18–24. http://dx.doi.org/10.4000/ocim.1476.

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39

Drouin, Jean-Marc, and Robert Fox. "Corolles et crinolines Le mélange des genres dans l’œuvre de Henri Lecoq (1802–1871)." Revue de synthèse 120, no. 4 (1999): 581–99. http://dx.doi.org/10.1007/bf03182170.

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Piizzi, Paola, Eduardo De Paula, and Márcia Chiamulera. "Máscara e mascaramentos femininos." ouvirOUver 16, no. 1 (2020): 12–15. http://dx.doi.org/10.14393/ouv-v16n1a2020-53840.

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Partindo dos grafites rupestres encontrados em uma gruta do deserto do Tassili n’Ajjer (Saara), considerado um exemplo de mascaramento estético feminino, será traçado um percurso histórico crítico que pretende percorrer as diferentes tipologias de mascaramento presentes nas diversas partes e culturas do mundo. Das máscaras funerárias às máscaras utilizadas para adquirir poder e qualidade de forças sobrenaturais, da tatuagem à escarificação e deformação estética, para então debruçar-se de modo particular sobre o mascaramento feminino. Este último tem um papel de extrema importância, por exemplo
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41

Kadane, Joseph B. "Bayesian Thought in Early Modern Detective Stories: Monsieur Lecoq, C. Auguste Dupin and Sherlock Holmes." Statistical Science 24, no. 2 (2009): 238–43. http://dx.doi.org/10.1214/09-sts298.

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42

Juarez, M., V. Truniger, and M. A. Aranda. "First Report of Cucurbit aphid-borne yellows virus in Spain." Plant Disease 88, no. 8 (2004): 907. http://dx.doi.org/10.1094/pdis.2004.88.8.907a.

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In late spring 2003, field-grown melon plants (Cucumis melo L.) showing bright yellowing of older leaves were observed near Valladolises in Campo de Cartagena, Murcia, Spain. Symptoms resembled those caused by viruses of the genus Crinivirus (family Closteroviridae), but absence or very low populations of whiteflies were observed. However, diseased foci showed clear indications of heavy aphid infestations. Later, during the fall of 2003, squash plants (Cucurbita pepo L.) grown in open fields in the same area showed similar symptoms. Tissue print hybridizations to detect Cucurbit yellow stuntin
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Meyer, Barbara Hochstetler. "Marguerite de Navarre and the Androgynous Portrait of Francois Ier*." Renaissance Quarterly 48, no. 2 (1995): 287–325. http://dx.doi.org/10.2307/2863067.

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Celluy qui dit ta grace, eloquence & scavoirNe estre plus grands que humains, de pres ne t'a peu veoirEt à qui ton parler ne sent divinitéDe termes et propos n'entend la gravità.De l'Empire du Monde est ta presence digne,Et ta voix ne dit chose humaine, mais divine.Combien doncques diray l'Ame pleine de grace,Si outre les Mortelz tu as parolle et Face?Clement Marot, EpigrammePoem Bestowing upon François IER the essence of divinity was not a flattering aberration but an example of imagery that became emblematic of his long reign. As Anne-Marie Lecoq has shown in her incisive analyses of man
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Steen, Ros, and Joyce Deans. "Essay What we may be: the integration of Lecoq movement and George voice work at the RSAMD." Voice and Speech Review 6, no. 1 (2009): 286–302. http://dx.doi.org/10.1080/23268263.2009.10767579.

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45

Escribano, Xavier. "El cuerpo poético del arte pictórico y de la expresión dramática : a propósito de Merleau-Ponty y Jacques Lecoq." Investigaciones Fenomenológicas, no. 1 (January 1, 2008): 265. http://dx.doi.org/10.5944/rif.1.2008.5566.

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46

Bou, Jordi, and Josep Bou i Tomàs. "Euphorbia duvalii (Euphorbiaceae) in the Iberian Peninsula." Anales del Jardín Botánico de Madrid 75, no. 2 (2018): 073. http://dx.doi.org/10.3989/ajbm.2495.

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Euphorbia duvalii Lecoq & Lamotte is an endemic species from the Catalan-Occitan territory -western Mediterranean area- and is usually found in the south of France. Euphorbia duvalii has been cited from some localities of the Iberian Peninsula, but in later reviews all of these citations were finally identified as other species of Euphorbia L. One of these citations, from the Alt Empordà -Girona, Spain-, was of specific interest because not all the sources agreed on what the species was. To clarify whether or not this species is really present in the Iberian Peninsula, we examined new mate
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Risum, Janne. "The Crystal of Acting." New Theatre Quarterly 12, no. 48 (1996): 340–55. http://dx.doi.org/10.1017/s0266464x00010538.

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‘An actor is seen as if through crystals’, wrote Artaud in 1925, and Janne Risum here uses the analogy of the prism within which to discuss the range of inter-reflecting and interpenetrating analogies the theatre has borrowed from the other arts and from life in its attempts to define itself – analyzing also why it seems impelled to do so through the use of metaphor. Drawing upon the work of major theatre practitioners including Decroux, Stanislavsky, Craig, Meyerhold, Lecoq, Mnouchkine, and Barba, she explores terms which have sometimes been sharply redefined, sometimes allowed to remain inde
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48

Samur, Sebastian. "Enacting Lecoq: Movement in Theatre, Cognition, and Life. By Maiya Murphy. London: Palgrave MacMillan, 2019. Pp. 225. €72.79/$84.99 Hb." Theatre Research International 45, no. 3 (2020): 372–73. http://dx.doi.org/10.1017/s0307883320000486.

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Segalini, Laurent. "Lecoq Patrice, Nouveau regard sur Choqek’iraw (Choque Quirao) : un site inca au cœur de la cordillère de Vilcabamba au Pérou." Journal de la société des américanistes 101, no. 101-1 et 2 (2015): 321–29. http://dx.doi.org/10.4000/jsa.14336.

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50

Kvarnheden, Anders. "Principles of Plant Virology; Genome, Pathogenicity, Virus Ecology - By S. Astier, J. Albouy, Y. Maury, C. Robaglia & H. Lecoq." Plant Pathology 57, no. 5 (2008): 989. http://dx.doi.org/10.1111/j.1365-3059.2008.01901.x.

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