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Introduction
Abstract
The introduction presents the evolution of the name of the company from the original Théâtre de Complicité to the one used at present—Complicite. Some attention is given to the juxtaposition of the collective nature of the ensemble and the individual authorship of Simon McBurney. The influence of artistic masters such as Jacques Lecoq and John Berger is discussed, along with echoes of the work of Peter Brook, Bertolt Brecht, Tadeusz Kantor and Shuji Terayama. Other themes include: questioning logo-centrism, relations between the body and mind, and the sense of unknowing. The concept of the singularity of theatre communication is derived from Derek Attridge’s premises, and the usefulness of Eastern European semiotic studies of the kind practised by Yuri Lotman is explained.
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‘In life I want students to be alive and on stage I want them to be artists’ Jacques Lecoq
Jacques Lecoq was one of the most inspirational theatre teachers of our age. The International Theatre School he founded in Paris remains an unrivalled centre for the art of physical theatre. In The Moving Body, Lecoq shares his unique philosophy of performance, improvisation, masks, movement and gesture which together form one of the greatest influences on contemporary theatre.
Neutral mask, character mask, and counter masks, bouffons, acrobatics and commedia, clowns and complicity: all the famous Lecoq techniques are covered here - techniques that have made their way into the work of former collaborators and students inluding Dario Fo, Julie Taymor, Ariane Mnouchkine, Yasmina Reza and Theatre de Complicité.
This paperback edition contains a Foreword by Simon McBurney, Artistic Director of Complicité and an Afterword by Fay Lecoq, Director of the International Theatre School in Paris.
‘In life, I want students to be alive and on stage I want them to be artists’ Jacques Lecoq
Jacques Lecoq was one of the most inspirational theatre teachers of our age. In The Moving Body, Lecoq shares with us first-hand his unique philosophy of performance, improvisation, masks, movement and gesture, which together form one of the greatest influences on contemporary theatre.
Neutral mask, character mask and counter masks, bouffons, acrobatics, commedia, clowns and complicity: all the famous Lecoq techniques are covered in this book – techniques that have made their way into the work of former collaborators and students including Dario Fo, Ariane Mnouchkine, Yasmina Reza and Theatre de Complicite.
The book contains a foreword by Simon McBurney and an afterword by Fay Lecoq, Director of the International Theatre School in Paris.
Literature and the literary have proved singularly resistant to definition. Derek Attridge argues that such resistance represents not a dead end, but a crucial starting point from which to explore anew the power and practices of Western art. In this lively, original volume, the author: considers the implications of regarding the literary work as an innovative cultural event, both in its time and for later generations;. provides a rich new vocabulary for discussions of literature, rethinking such terms as invention, singularity, otherness, alterity, performance and form;. returns literature to the realm of ethics, and argues the ethical importance of the literary institution to a culture;. demonstrates how a new understanding of the literary might be put to work in a 'responsible,' creative mode of reading. The Singularity of Literature is not only a major contribution to the theory of literature, but also a celebration of the extraordinary pleasure of the literary, for reader, writer, student or critic.
The influential and widely respected narrative theorist, H. Porter Abbott, breaks new ground in Real Mysteries: Narrative and the Unknowable. In it, he revisits the ancient theme of what we cannot know about ourselves and others. But in a sharp departure, he shifts the focus from the representation of this theme to the ways narrative can be manipulated to immerse “the willing reader” in the actual experience of unknowing. As he shows, this difficult and risky art, which was practiced so inventively by Samuel Beckett, was also practiced by other modern writers. Abbott demonstrates their surprising diversity in texts by Beckett, Gabriel García Márquez, Herman Melville, Toni Morrison, Alice Munro, J. M. Coetzee, Tim O’Brien, Kathryn Harrison, and Jeanette Winterson, together with supporting roles by J. G. Ballard, Gertrude Stein, Michael Haneke, and Pseudo-Dionysius the Areopagite. The demands of this art bear directly on key issues of narrative inquiry, including the nature and limits of reader-resistant texts, the function of permanent narrative gaps, the relation between experiencing a text and its interpretation, the fraught issue of aligning grammatical and narrative syntax, the mixed blessing of our mind-reading capability, and the ethics of reading. Despite its challenges, this book has also been written with an eye to the general reader. In accessible language, Abbott shows how narrative fiction may create spaces in which our ignorance, when it is by its nature absolute, can be not only acknowledged but felt, and why this is important.
1. IntroductionThe Marketplace of InterpretationInterpretation as Translatability2. The Authority of the CanonCanonization and MidrashThe Literary Canon: Dr. Johnson on Shakespeare3. The Hermeneutic CircleFriedrich Daniel Ernst Schleiermacher: Self-reflective CircularityJohann Gustav Droysen: The Nesting of CirclesPaul Ricoeur: Transactional Loops4. The Recursive LoopRecursion in Ethnographic DiscourseSystemic Recursion5. The Traveling Differential: Franz Rosenzweig, "The Star of Redemption"The Birth of the Elements Out of the Somber Foundations of Nought"Proliferating Translatability6. Configurations of Interpretation: An Epilogue
Contemporary academic discourse is filled with the word “perform”. Nestled among a variety of prefixes and suffixes (re-, post-, -ance, -ivity?), the term functions as a vehicle for a host of inquiries. This development is intriguing and complex for students, artists, and scholars of performance and theater. By examining the history of theater studies and related institutions and comparing the very different disciplinary interpretations and developments that led to this engagement, this study offers ways of placing performance theory and performance studies in context.
Complicite at 30: Simon McBurney and Judith Dimant in conversation
- Louise Jeffreys
Simon McBurney: shifting under/soaring over the boundaries of Europe
- Stephen Knapper
Judith Dimant: producing Complicite
- Nell Frizzell
Entry in Fifty Key Theatre Directors
- David Williams
Theatre Museum Archive
- Light
Portrait of the artist: Annabel Arden, director
- Laura Barnett
‘How to put the tragic into tragedy
- John Gross
Schulz w Complicite, czyli brytyjska lekcja Kantorowskiego seansu
- Krzysztof Miklaszewski
Judith Dimant: the woman who puts brilliance on the stage
- John Nathan
The British Library’s John Berger Archive: From Page to Stage and Back Again.’ Conference paper delivered at ‘Between Page and Stage Conference
- Tom Overton
Oxford Companion to Theatre and Performance
- Dennis Kennedy
Kultura i znaki. Semiotyka stosowana w szkole tartusko-moskiewskiej
- Bogusław Żyłko
‘Theatre is something very simple, very simple’. Interview by Tomasz Wiśniewski
- Jos Houben
French passions: Simon McBurney on Rabelais
- Simon Mcburney
Pensamento em processo’. A meeting with the audience at MITsp-Mostra Internacional de Teatro de São Paulo
- Simon Mcburney
Interview: the founders of Complicité
- Matt Trueman
The Street of Crocodiles
- Michael Billington
‘Why I go to the theatre
- Lyn Gardner
Bruno z Drohobycza nad Tamizą, czyli… rewelacja
- Krzysztof Miklaszewski
Semiotyka kultury. Gdańsk: słowo/obraz terytoria
- Bogusław Żyłko
Beautiful masks, or “That’s what I know I’m goot at”’. Interview with Tomasz Wiśniewski
- Fay Lecoq
From the physical theatre to the theatre of the word’. Interview by Tomasz Wiśniewski
- Marcello Magni
Jacques Lecoq and the Paris School
- Simon Murray
Staging the UK. Manchester
- Jen Harvie
Teatralny kalejdoskop Complicite
- Katarzyna Ojrzyńska
Intermingling Literary and Theatrical Conventions
- Tomasz Wiśniewski
Here Is Where We Meet
- John Berger
Teatr współtworzony według Complicite
- Katarzyna Ojrzyńska
Street of Crocodiles in Thames
- Krzysztof Miklaszewski
- K Miklaszewski
System i funkcja. Gdańsk: Wydawnictwo Gdańskie
- Andrzej Zgorzelski
- A Zgorzelski
How to put the tragic into tragedy. The Oresteia, Mnemonic, Jane Eyre
- John Gross
Theatre is something very simple, very simple
- Jos Houben
Simon McBurney (1957-)’. Entry in Fifty Key Theatre Directors
- David Williams