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Abstract
This article explores Jacques Lecoq's pedagogy of theatre training and considers its usefulness as an approach for secondary school drama teachers. Lecoq's principles and practice can be successfully applied in drama education to develop skills in theatrical creation and performance. The four pillars of Lecoq's integrated approach—movement, improvisation, creation and stylisation—are explored in terms of their suitability for the drama classroom. The pedagogy is seen to offer a viable alternative to the ‘Stanislavski method’, primarily because its theory and practice are grounded in a paradigm of embodiment rather than Cartesian dualism. The proposition that Lecoq's practice is valuable for secondary drama education is supported by the testimony of Australian Lecoq graduates who have conducted pre-service and in-service teacher training, student workshops and Theatre-in-Education programs.
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Notes on contributors
Lynn Everett
Lynn Everett is a lecturer in drama education at the University of New England, Armidale. She is also a community theatre artist with recent projects including an environmental cabaret, a multi-arts youth project and a folk opera for the Australian Maritime Museum. Her research interests focus on drama and environmental sustainability, popular theatre and movement-based theatre pedagogy.