Titlebook: Enacting Lecoq; Movement in Theatre, Maiya Murphy Book 2019 The Editor(s) (if applicable) and The Author(s), under exclusive license to Spr

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,Conclusion: “Beautiful, Beautiful, but Where Are You Going?”,scussion by suggesting how Lecoq pedagogy is both epistemological and ontological, and shows how the pedagogy proposes its own continuity of life and creativity. Through suggestions of practical and theoretical interventions, Murphy elucidates how Lecoq’s notion that “everything moves” could shape enactive research.

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Lineare Gleichungen und Matrizen,freedom and constraint shape the emergence of the actor-creator. She addresses Lecoq’s essentialist rhetoric and practices by not only marking the ways that Lecoq destabilizes them, but also introducing how an enactive view reveals the necessity of creating pedagogical paradoxes to forge an empowered creator.

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Anhang: Magnetische Eigenschaften,sion language as a capacity that arises from the body’s engagement with movement. In this way Lecoq’s insistence on starting from movement is revealed not as a bias against words or text-based theatre, but rather as a commitment to using a continuity of life and mind to equip the actor-creator with flexible capacities for theatrical expression.

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Introduction,er. By articulating the central tenets of enaction and the basic principles of Lecoq pedagogy, Murphy highlights their shared conviction in the intimate relationship between embodiment, cognition, and meaning-making. Murphy gives a historical outline of both Lecoq pedagogy and enaction, and points t

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,Crafting Necessary Temptations and Needful Freedoms: Lecoq’s Actor–Instructor Relationship,ith his essentialist rhetoric and practices to forge the actor-creator. This chapter introduces the concept of . to understand how Lecoq’s version of via negativa empowers the actor-creator to make choices that suit particular theatrical contexts. Murphy uses Hans Jonas’s notion of . to explain how

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,Lecoq’s Mime and the Process of Identifications: Enacting Movement, Selfhoods, and Otherness, mime and outlines how they engage notions of selfhood and otherness. This chapter describes how Lecoq’s practice of identifications induces a corporeal-imaginative reckoning of self and other as key to both the creative development of the actor-creator and access to creativity in general. In order

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