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Artykuły w czasopismach na temat "Jacques Lecoq"
Scheffler, Ismael. "JACQUES LECOQ E O LABORATÓRIO DE ESTUDOS DO MOVIMENTO (LEM): DA ESCOLA DE ARQUITETURA A UM ESPAÇO AUTÔNOMO DE CENOGRAFIA EXPERIMENTAL". Cena, nr 27 (12.01.2019): 47–59. http://dx.doi.org/10.22456/2236-3254.87785.
Pełny tekst źródłaSouza 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, nr 1 (14.12.2017): 61. http://dx.doi.org/10.7867/2236-6644.2017v22n1p61-75.
Pełny tekst źródłaStankovic, Pola. "Jacques Lecoq and the Canadian Theatre". Canadian Theatre Review 183 (1.06.2020): 50–54. http://dx.doi.org/10.3138/ctr.183.010.
Pełny tekst źródłaFreixe, Guy. "LE CLOWN DANS L'ENSEIGNEMENT DE JACQUES LECOQ". Cena, nr 24 (6.03.2018): 46. http://dx.doi.org/10.22456/2236-3254.70443.
Pełny tekst źródłaFreixe, Guy. "O CLOWN NO ENSINO DE JACQUES LECOQ". Cena, nr 24 (6.03.2018): 37. http://dx.doi.org/10.22456/2236-3254.77554.
Pełny tekst źródłaKemp, Rick. "The embodied performance pedagogy of Jacques Lecoq". Connection Science 29, nr 1 (30.09.2016): 94–105. http://dx.doi.org/10.1080/09540091.2016.1233521.
Pełny tekst źródłaScheffler, Ismael. "Jacques Lecoq e a Antropologia do gesto de Marcel Jousse". PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG 9, nr 17 (17.05.2019): 218–54. http://dx.doi.org/10.35699/2237-5864.2019.15731.
Pełny tekst źródłaFreixe, Guy. "A IMPROVISAÇÃO E O JOGO COM MÁSCARA NA FORMAÇÃO DO ATOR". Cena, nr 23 (23.11.2017): 184. http://dx.doi.org/10.22456/2236-3254.70441.
Pełny tekst źródłaDaboo, Jerri. "Konstantin Stanislavsky Michael Chekhov Vsevolod Meyerhold Jacques Lecoq". Theatre Survey 47, nr 1 (13.04.2006): 146–50. http://dx.doi.org/10.1017/s004055740638009x.
Pełny tekst źródłaMurphy, Maiya. "Enacting the Consequences of the Lecoq Pedagogy's Aesthetic Cognitive Foundation". Theatre Survey 58, nr 3 (10.08.2017): 326–51. http://dx.doi.org/10.1017/s0040557417000278.
Pełny tekst źródłaRozprawy doktorskie na temat "Jacques Lecoq"
Salvatierra, Capdevila Carmina. "La Escuela Jacques Lecoq: una pedagogía para la creación dramática". Doctoral thesis, Universitat de Barcelona, 2007. http://hdl.handle.net/10803/400762.
Pełny tekst źródłaJacques Lecoq (1921-1999) has been one of the pedagogues whose teaching has had a great influence on the performing arts of the second half of the twentieth century. He is identified with the theatrical current of the so-called «physical theatre», although his contribution has not been throughly studied. His contribution is better known through his former students, those who attended his international school, founded in Paris in 1956. Guided by his interest in the Movement which is based on the relationship between the human body and the space, Lecoq built a common pedagogy for acting, directing, and playwriting. The present dissertation researches the foundations of this pedagogy: Movement, Mime and the Human Body; the method of mime-dynamics; the Neutral Mask, improvisation, body training and movement analysis. It’s divided into three parts. First, the theatrical tradition to which Lecoq belongs and his own vital trajectory until the opening of his school and its evolution until 1999. Then, his actual practice with specific exercises and his pedagogical method. Two notions guide this research: «Play» and «Imaginary». They are key concepts to his approach to the understanding of the dramatic play in its phenomenal value. The research addresses the need for a hermeneutic on the nature of language within the performing arts. The last part deals with the theoretical underpinnings of Lecoq and Étienne Decroux's mime, since they are the two pedagogues who have most reflected on the role of mime in the theatre. The annex contains information programmes of Jacques Lecoq School at different periods, including the Laboratory of Movement Study (LEM); texts and school photos on different aspects of the training. It includes interviews, press articles and accounts of the lessons by former students, such as the pedagogue Monika Pagneux, and a selection of exercises and improvisation themes taken from the daily “Carnets de bord d'un voyage au Central”, an unpublished text by Christophe Merlant.
Scheffler, Ismael. "O laboratório de estudo do movimento e o percurso de formação de Jacques Lecoq". Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/657.
Pełny tekst źródłaCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
A presente pesquisa tem como foco o Laboratório de Estudo do Movimento (LEM), ligado à Escola Internacional de Teatro Jacques Lecoq, em Paris, França. Como forma de identificar fundamentos do LEM, é proposto um estudo histórico do percurso de formação de Jacques Lecoq, observando os contextos pedagógicos e artísticos em que esteve inserido que foram determinantes para a elaboração de sua pedagogia. São examinados diferentes períodos: a formação, na Escola do Polo de Bagatelle, como monitor de Educação Física e em fisioterapia, durante a II Guerra Mundial, e os meses de refúgio, no final da guerra, com o grupo Les Aurochs (1941 a 1944); os cursos na Associação Travail et Culture (TEC) durante a Liberação e a incursão pelo interior da França com Les Compagnons de La Saint-Jean (1944 a 1945); e o início no teatro profissional junto a trupe Les Comédiens de Grenoble (1945 a 1947). O estudo explora também as experiências docentes de Lecoq anteriores à criação do LEM, considerando quatro instituições: a Associação Éducation par le Jeu Dramatique (EPJD) (1947 a 1948); o Teatro Universitário de Pádua e a Escola do Piccolo Teatro de Milão, na Itália (1948 a 1953); a criação, em Paris, de sua escola de teatro (a partir de 1956), enfocando especialmente nos primeiros vinte anos de sua existência, até a criação do LEM (em 1976), e analisando diversos aspectos relacionados a pedagogia de Lecoq. A pesquisa apresenta informações históricas da criação do LEM, da experiência de Lecoq como professor na Escola de Arquitetura Unidade Pedagógica n. 6 (UP6) (entre 1969 a 1988), à contribuição de Krikor Belekian, cofundador do LEM, e de Pascale Lecoq. Dedica-se a observar diferentes aspectos da estrutura, do programa e da metodologia aplicados no ano letivo de 2010-2011. Por fim, são analisados alguns fundamentos da pedagogia de Lecoq presentes no LEM, apurados a partir do estudo da trajetória de Lecoq sobreposta à prática por mim vivenciada como aluno do LEM (2010-2011): o Método Natural de Educação Física, de Georges Hébert; os princípios da éducation nouvelle; a máscara; o mimo; e a Antropologia do Gesto, de Marcel Jousse. O estudo é realizado a partir de revisão historiográfica, de história oral, de pesquisa de campo, de análise documental, de estudo conceitual e teórico. A pesquisa demonstra que a pedagogia do LEM é resultante de um processo de articulação e enriquecimento de diferentes influências recebidas por Jacques Lecoq, conduzindo a uma proposta pedagógica de ensino da Arte.
Sachs, Cláudia Müller. "A imaginação é um músculo : a contribuição de Lecoq para o trabalho do ator". Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/651.
Pełny tekst źródłaCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
This study addresses the issue of the imagination in the actor s work encouraged by aspects of the pedagogy of Jacques Lecoq. The research aimed at a better understanding of my experience as an actress, director, body coach and teacher, through a conceptual analysis of some aspects of this pedagogy. It s a practice based on codified exercises inspired on mime and mimism as well as on improvisations that take the nature and its intrinsic dynamics as the main theme. The notion of Fond Poétique Comum is identified as the fundamental view of this pedagogy that serves as inspiration for the imagination of the actors whilst associating its dynamics to their movement. This notion is discussed based on assumptions derived from the natural sciences, philosophy and Eastern thought, mainly from authors like Gaston Bachelard, Marcel Jousse, Henri Bergson and Fritjov Capra. Notably designed for the kind of theater in which the importance of the body practice overlaps the one of the spoken text, which it may even be dispensed, this pedagogy aims to instrument the performing arts artist in their different functions, and the actors are encouraged to develop an attitude of being the author of their work. Relationships are established with some historical aspects of the French theater of the twentieth century and the approaches to the imagination in the actor s work in Stanislavski and Chekhov, as well as questions about acting whether as performer or as an actor, present in the contemporary theater studies. The study was structured based on the organization of the practice itself, keeping the steps of presentation, stretching, warming up, improvisation and creation, taking as as corpus of analyses experiences as a student of the École International de Théâtre Jacques Lecoq, as the director of the shows O Baile dos Anastácio and O Defunto , as the actress of Gueto Bufo , as a teacher in several workshops, as well as testimonials of classmates, students and actors involved in these processes
Este estudo trata da questão da imaginação no trabalho do ator, incitado por aspectos da pedagogia de Jacques Lecoq. A pesquisa teve por objetivo uma melhor compreensão de minha experiência como atriz, diretora, preparadora corporal e professora por meio da análise conceitual de aspectos dessa pedagogia. São trabalhos práticos baseados em exercícios codificados, inspirados pela mímica e pelo mimismo e improvisações que tomam a natureza e sua dinâmica intrínseca como tema principal. A noção de Fundo Poético Comum é apontada como a visão fundamental dessa pedagogia, servindo como inspiração para a imaginação do ator, na medida em que associa sua dinâmica a seus movimentos. Tal noção é abordada com base em pressupostos oriundos das ciências naturais, da filosofia e do pensamento oriental, pautando-se principalmente em autores como Gaston Bachelard, Marcel Jousse, Henri Bergson e Fritjov Capra. Notadamente designada para o tipo de teatro no qual a importância da prática corporal sobrepõe-se à do texto falado, do qual pode até prescindir, essa pedagogia visa instrumentar o artista das artes cênicas em suas diferentes funções, e o ator é incentivado a desenvolver uma atitude de autor do seu trabalho. São estabelecidas relações com aspectos históricos do teatro francês do século XX e com as abordagens sobre a imaginação no trabalho do ator em Stanislavski e Chekhov, assim como o questionamento sobre a atuação enquanto performer ou ator presentes nos estudos teatrais contemporâneos. O estudo foi estruturado pela organização da prática em si, mantendo as etapas de apresentação, alongamento, aquecimento, improvisação e criação, tomando como corpus de análise experiências como aluna na École International de Théâtre Jacques Lecoq, como diretora dos espetáculos "O Baile dos Anastácio" e "O Defunto", como atriz de "Gueto Bufo", como professora em várias oficinas de teatro, assim como depoimentos de colegas, alunos e atores envolvidos nesses processos
Nixon, Ellie. "Towards an 'embodied poetics' : an exploration of devising processes based on the work of Jacques Lecoq and Gaston Bachelard". Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/20777.
Pełny tekst źródłaSouza, Kalisy Cabeda de. "O sentido se sente com o corpo: reflexões sobre a criação poética a partir do corpo cênico". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-13112014-112956/.
Pełny tekst źródłaThe purpose of this dissertation is to reflect about the poetry creation through the cenical body. Our reflexion emerges from the praxis about the creative act, perception and sensibility, aiming the elaboration of a knowledge through our experience. In this experience, we perceived the cenical body as a constant dialogue between dance and theater, grounding our thought mainly on the notions of movement, body and physicality brought by the philosophers José Gil (2004) and Susanne Langer (1980) e by the critic Antonio Pinto Ribeiro (1994). We understand the praxis as essential to the development of the cenical body. Our thought is based in the elaboration of an experimental study about the cenical body though praxis of some principles present in the movement system of Rudolf Von Laban, specifically the movement factors: weight, space, time and fluency, and in the pedagogy of Jacques Lecoq, about the methodology of transferences. Starting with this study, we developed technical-artistic abilities that allowed us to recognize the poetical and expressive material of each dancer-actress involved in this research. After performing the experience about the researched methodologies, we used the creative body material of each interpreter in the elaboration of the cenical composition exercise: The sense is felt by the body. Through our creative process and the notions about the cenical body, we elaborated our reflexions about artistic creation based on the body and its poetical and singular physicality. Finally, we realized that the body material of each dancer-actress found, in the dialogue between dance and theater, a possibility of investigation and creation, elaborating an artistic language that finds its poetical material in the cenical body.
Fuoco, Geneviève. "La méthode Jacques Lecoq et les Cycles Repère. Deux outils de travail complémentaires dans la création du spectacle Le temps nous est gare". Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24945/24945.pdf.
Pełny tekst źródłaPajares, Lazarte Álvaro André. "Lecoq a través de Stnislavski: la trasposición de la secuencia de los 20 movimientos en la ejecución de acciones dramáticas". Bachelor's thesis, Pontificia Universidad Católica del Perú, 2020. http://hdl.handle.net/20.500.12404/16858.
Pełny tekst źródłaValencia, Piñan Katiuska Elvira. "Trabajo Coral Escénico en la formación temprana de actores y actrices. Caso FARES-PUCP". Master's thesis, Pontificia Universidad Católica del Perú, 2020. http://hdl.handle.net/20.500.12404/17230.
Pełny tekst źródłaTesis
Clavet, Samantha, i Samantha Clavet. "Enseigner au corps de l'acteur : le développement d'une pédagogie du mouvement dans les écoles de jeu au Royaume-Uni comme synthèse des pratiques de théâtre corporel en Europe". Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/37217.
Pełny tekst źródłaCe mémoire s’intéresse à la combinaison possible de principes liés à la méthode pédagogique de Rudolf von Laban et à celle de Jacques Lecoq dans la conception d’une méthode de préparation physique de l’acteur. L’objectif principal de la recherche est de poser les bases une pédagogie issue de ces deux conceptions du corps théâtral visant le développement de la conscience corporelle de l’interprète de théâtre. En posant d’abord le cadre historique de l’émergence des pédagogies de ces deux praticiens par une étude de l’évolution de la formation de l’acteur en Occident au courant du XXe siècle, il m’a été possible de retracer leur chemin jusque dans les institutions de formation de l’acteur au Royaume-Uni, où certains principes développés par chacun d’eux se côtoient. Un approfondissement des éléments centraux des enseignements de Laban et Lecoq m’a permis de dégager les principes pédagogiques qui allaient guider les prémices du développement de ma propre méthode d’enseignement. Celle-ci a été validée au travers de la préparation et de l’enseignement d’ateliers de mouvement destiné à l’acteur de théâtre. En annexe du présent document se trouvent les plans de leçon desdits ateliers, de même qu’un retour sur l’enseignement de chacun d’entre eux.
Clavet, Samantha. "Enseigner au corps de l'acteur : le développement d'une pédagogie du mouvement dans les écoles de jeu au Royaume-Uni comme synthèse des pratiques de théâtre corporel en Europe". Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/37217.
Pełny tekst źródłaKsiążki na temat "Jacques Lecoq"
MURRAY, SIMON DAVID 1948. Jacques Lecoq. London: Taylor & Francis Group Plc, 2004.
Znajdź pełny tekst źródłaMurray, Simon. Jacques Lecoq. First edition reissued in 2017. | New York : Routledge, 2017. | Series: Routledge performance practitioners: Routledge, 2017. http://dx.doi.org/10.4324/9780203703212.
Pełny tekst źródłaJacques Lecoq. London ; New York: Routledge, 2003., 2003.
Znajdź pełny tekst źródłaRalph, Yarrow, i Chamberlain Franc, red. Jacques Lecoq and the British theatre. London: Routledge, 2002.
Znajdź pełny tekst źródłaMatthies, Roland. Wege zu einer neuen Schauspielausbildung--Wege zu einem neuen Theater?: Von der Schule des Vieux Colombier zu den Schulen von Etienne Decroux und Jacques Lecoq. Frankfurt am Main: Haag + Herchen, 1996.
Znajdź pełny tekst źródłaDie Schauspielpädagogik Jacques Lecoqs. Frankfurt am Main: Lang, 1993.
Znajdź pełny tekst źródłaMurray, Simon. Jacques Lecoq. Taylor & Francis Group, 2017.
Znajdź pełny tekst źródłaMurray, Simon. Jacques Lecoq. Taylor & Francis Group, 2017.
Znajdź pełny tekst źródłaMurray, Simon. Jacques Lecoq. Taylor & Francis Group, 2017.
Znajdź pełny tekst źródłaMurray, Simon David. Jacques Lecoq. Taylor & Francis Group, 2004.
Znajdź pełny tekst źródłaCzęści książek na temat "Jacques Lecoq"
Murray, Simon. "The Life of Jacques Lecoq". W Jacques Lecoq, 1–41. First edition reissued in 2017. | New York : Routledge, 2017. | Series: Routledge performance practitioners: Routledge, 2017. http://dx.doi.org/10.4324/9780203703212-1.
Pełny tekst źródłaMurray, Simon. "The Texts of Jacques Lecoq". W Jacques Lecoq, 43–93. First edition reissued in 2017. | New York : Routledge, 2017. | Series: Routledge performance practitioners: Routledge, 2017. http://dx.doi.org/10.4324/9780203703212-2.
Pełny tekst źródłaMurray, Simon. "Traces of Jacques Lecoq". W Jacques Lecoq, 95–126. First edition reissued in 2017. | New York : Routledge, 2017. | Series: Routledge performance practitioners: Routledge, 2017. http://dx.doi.org/10.4324/9780203703212-3.
Pełny tekst źródłaMurray, Simon. "Practical Exercises". W Jacques Lecoq, 127–51. First edition reissued in 2017. | New York : Routledge, 2017. | Series: Routledge performance practitioners: Routledge, 2017. http://dx.doi.org/10.4324/9780203703212-4.
Pełny tekst źródłaMurray, Simon. "Conclusion". W Jacques Lecoq, 153–60. First edition reissued in 2017. | New York : Routledge, 2017. | Series: Routledge performance practitioners: Routledge, 2017. http://dx.doi.org/10.4324/9780203703212-5.
Pełny tekst źródłaLeabhart, Thomas. "Jacques Lecoq and Mummenschanz". W Modern and Post-Modern Mime, 88–107. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20192-1_6.
Pełny tekst źródłaSellers-Young, Barbara, Rosina McCutcheon i Nikole Pascetta. "Jacques Lecoq and This Theatre Called My Body". W Narrative in Performance, 205–24. London: Macmillan Education UK, 2019. http://dx.doi.org/10.1057/978-1-352-00417-5_12.
Pełny tekst źródła"Jacques Lecoq". W Commedia Dell'Arte, 92–97. Routledge, 2002. http://dx.doi.org/10.4324/9780203181737-17.
Pełny tekst źródła"CONCLUSION". W Jacques Lecoq, 163–70. Routledge, 2004. http://dx.doi.org/10.4324/9780203380482-10.
Pełny tekst źródła"THE LIFE OF JACQUES LECOQ". W Jacques Lecoq, 14–54. Routledge, 2004. http://dx.doi.org/10.4324/9780203380482-6.
Pełny tekst źródła