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Stanislavsky and Yoga

To begin with what often comes last: this collection is an important contribution to our understanding of the significance and reach of Lecoq’s work. It is not a book that will sit on a casual reader’s bookshelf but is essential reading for anyone interested in contemporary scholarship of Lecoq’s work and particularly scholarship that is rooted in an embodied understanding of the practice. In general, the work of Jacques Lecoq was poorly served in English-language texts on theatre during his lifetime. There were occasional articles in journals and mentions in passing, but no extended studies of his work or collections of essays had been published by the time of his death in 1999. For readers of this journal, with its emphasis on training, this may seem an odd state of affairs – after all, at the time of his death, Lecoq’s school had been one of the best respected in Europe for over 30 years, and his emphasis on the actor as creator was having a profound effect on actor training and the development of devised theatre. This effect went almost unnoticed in mainstream theatre academia. In 1994, for example, Routledge published the first of six volumes in their mammoth project The World Encyclopedia of Contemporary Theatre. The first volume consisted of over 1000 pages on contemporary European theatre, with chapters on each country. The work of Jacques Lecoq is mentioned just once, on page 309: