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By Simon Murray

The lifetime of Jacques Lecoq -- The Texts of Jacques Lecoq -- lines of Jacques Lecoq: Theatre de Complicite's highway of Crocodiles and The paintings of Mummenschanz -- useful routines -- end

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I am only there to place obstacles in your path, so that you can better find your way around them. (2000: ix) American theatre academic, Ron Jenkins, puts it another way and talks of ‘Lecoq’s self-effacing insistence that his students develop their own individual style of performance rather than imitate their teacher’ (2001), while David Bradby notes that ‘most unusually for a Parisian master, he rigorously excluded all cult of the personality, refusing even to publish the results of his researches until very late in life’ (2002b: 92).

6). By the time of his death, Lecoq had performed Tout bouge on numerous occasions across the world, and particularly in Japan, China, Australia and North America. In August 1990, at the invitation of Dick McCaw, who was now running the IWF, he taught a LEM masterclass with Krikor Belekian and his daughter, Pascale – both architects – at the Royal Scottish Academy of Music and Drama in Glasgow. The workshop examined relationships between movement of the body, theatre and architecture, and was attended by architects and visual artists as well as theatre practitioners.

Fay Lecoq maintains overall administrative and managerial leadership, working with a college of teachers. From October 1999 until he left in July 2002, Director of Pedagogy at the school was Thomas Prattki, who had begun teaching there in 1993. Immediately after Lecoq’s death, there was considerable speculation as to whether the institution could survive without him – whether, indeed, it could attract pupils without the appeal of his intellectual leadership and provocation. However, the school recruits as healthily as ever, thus offering an interesting comparison with other similar establishments where the death of the ‘master’ – of the ‘guru’ – would certainly have precipitated closure.

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