<div dir="ltr"><p class="MsoNormal" align="center"><b><span style="font-size:21pt;font-family:Calibri">Call
for Chapter Proposals</span></b><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" align="center"><b><span style="font-size:21pt;font-family:Calibri"> </span></b><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" align="center"><b><span style="font-size:21pt;font-family:Calibri">The
Routledge Companion to Jacques Lecoq</span></b><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" align="center"><b><span style="font-size:21pt;font-family:Calibri"> </span></b><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" align="center"><b><span style="font-size:21pt;font-family:Calibri">Editors:
Mark Evans (Coventry University, UK) and Rick Kemp (Indiana University of
Pennsylvania, USA)</span></b><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">This book, currently under
consideration by Routledge, is proposed with the support and involvement of the
École internationale de théâtre Jacques Lecoq. It will be the first major
attempt to provide a comprehensive and critical guide to Jacques Lecoq's work
in at least ten years. Lecoq is one of the most influential international
theatre pedagogues of the last fifty years, and yet remarkably little has been
written about his work. In line with the general format of Routledge Companion
volumes, this new book will contain multiple chapters written by different
authors about various aspects of Lecoq’s life, teaching, and legacy. The book
is intended to be a comprehensive and authoritative survey of Lecoq’s work.
Offering a breadth and depth of analysis that builds on and augments the
limited number of previous texts on Lecoq (Murray 2003 and Chamberlain &
Yarrow 2001), this book will offer a contemporary critical analysis of the
significance of Lecoq’s work as well as placing his practice within a wider historical,
cultural and philosophical context.</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">
The structure of the book will be as follows. After a general
introduction that will include a biography, the first section “Context,
Influences, and Practice” is intended to give the reader information about the
social context within which Lecoq began his work as well as specific
influences, and accounts of his early work before founding the school. The
following chapters have already been proposed for this section:</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Jacques Lecoq and the Crisis of Acting in Modernism, 1944-1968 (Bruce
McConachie, University of Pittsburgh)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>The influence of sport on 20</span><sup><span style="font-size:16pt;font-family:Calibri">th</span></sup><span style="font-size:19pt;font-family:Calibri">
Century theatre (Mark Evans, Coventry University)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Outside the Mainstream: Studios, Laboratories and Ateliers (Tom
Cornford, University of York, UK)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">The second section “Pedagogy”
will include chapters devoted to specific subjects of the school’s curriculum,
with a contextualisation of how they developed over time. Chapters already
proposed for this section include:</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>The Neutral Mask (Dody DiSanto, former teacher at the Lecoq School,
Director, Center for Movement Theatre, Washington DC.</span><span style="font-size:16pt"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>The full-face mask: expressive, larval, utilitarian Paris)</span></p>
<p style="margin-left:60pt"><span style="font-size:18pt;font-family:Symbol"><span>·<span>
</span></span></span><span>A Dynamic Approach to
Poetry, Painting and Music: Lecoq on Bartók. (Jennie Gilrain, Touchstone
Theatre, PA.)</span><span style="font-size:18pt;font-family:Calibri"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Tragedy: the hero, the chorus, the tribune. (Shona Morris, Drama
Centre, London)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">In the third section
“Cultural Connections and Pedagogic Legacy” we hope to address the way in which
Lecoq’s teachings fit into the wider picture of trends in twentieth century
theatre, and to look at the way in which they are carried on, both at the
school and by former students who teach as part of companies or in other
schools. This section already includes the following chapters:</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Lecoq, emotion and acting theories in Western theatre (Rick Kemp)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>The Body as Building Block for Language (Maiya Murphy)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Applying Lecoq’s Pedagogy in Education and Community Building
(Mark McKenna, Touchstone Theatre)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Lecoq graduates and UK drama schools (Vladimir Mirodan, Drama Centre,
London)</span><span></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">The fourth and final section
is “The Performance Diaspora,” about former students who have become
individual artists or started companies. We anticipate that chapters
in this section will have varied formats as they could be written by the
artists themselves, or be written about them, or be interview material.
Chapters already lined up include:</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Pig Iron – Openness and Observation (Quinn Bauriedel, USA)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>The transmission of Lecoq’s work through embodied encounters (Rebecca Loukes,
University of Exeter)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>British Movement Directors and Lecoq training (Ayse Tashkiran,
RCSSD, London)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Clowning – from training into professional clowning and devised
performance (Malcolm Tulip, University of Michigan)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>The actor/creator and the influence of Lecoq’s pedagogy on American
ensembles (Susan Wright Thompson, USA)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Other authors that have
committed to writing chapters or contributing to the book include
Franc Chamberlain (University of Huddersfield) and Simon Murray
(University of Glasgow).</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">We also intend to have the
capacity for linking to video material, either on a companion website, or in
the Routledge Performance Archive.</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Routledge will promote the
book internationally, and thus it will not only assist in the wider recognition
of Lecoq as one of the great theatre teachers and philosophers of the twentieth
century, but also alert people worldwide to the vibrant and ongoing life of the
school, the rich work of students (past and present), the success and influence
of teachers who have worked at the School and at their own institutions, and
the impact of theatre performers, actors, theatre artists and companies the
School has supported. We welcome contributions from pedagogues and
theatrical practitioners as well as academics. </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">We seek potential authors for
chapters currently identified within the structure of the book, as outlined
below. We are also open to suggestions for chapters not currently identified in
these lists.</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><b><span>Section 1: Context, Influences and Practice</span></b><b><span style="font-size:16pt;font-family:Cambria"></span></b></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">The introduction will
identify Lecoq’s physical, cultural and intellectual journeys within
mid-twentieth century Europe. It will set out the broad context for his work
and his teaching and point to the significance of each of the following
chapters. In doing so, it will identify some of the possible historic reasons
why Lecoq’s work can be seen as both necessarily rooted in a city such as
Paris, and yet can also been seen as speaking to wider European social,
political and intellectual agendas.</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Chapter Topics:</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Post-WWII theatre policy in Europe – nationalism, internationalism,
humanism and populism in relation to the development of Lecoq’s practice.</span><span style="font-size:16pt"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>The French theatrical avant-garde of the early twentieth century (e.g.
Copeau, Artaud, Antoine).</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Mime, ‘mime,’ and mimes (from Deburau and Decroux to Marceau and
Barrault).</span><span></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>The rediscovery of the mask in twentieth century theatre</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Theatre and the French intellectual environment (e.g. Jousse,
Bachelard and Merleau-Ponty)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Satire and Absurdism - the Parenti-Lecoq Company, Fo, and European
Absurdism</span><span></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Silent comedy, mime and film (e.g. Chaplin, Tati and the impact of
film and television on mime and silent comedy)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><b><span>Section 2: Pedagogy</span></b><b><span style="font-size:16pt;font-family:Cambria"></span></b></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">The introduction will give a
general outline of the history of the school and the development of its
pedagogy, and identify Lecoq’s central aims and the overarching design of his
pedagogy. It will in broad terms identify the contributions of teachers such Philippe
Gaulier, Monika Pagneux, Norman Taylor, Thomas Prattki and Jos Houben (amongst
others) – for example Pagneux’s introduction of the work of Moshe Feldenkrais
into the school’s <i>preparation corporelle</i>.</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Chapter Topics</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><i><span style="font-size:19pt;font-family:Calibri">(Chapter authors will be
asked to contextualize each topic, and with each pedagogic form, describe its
adoption into the school’s curriculum. Some topics are more thematic, in order
to incorporate multiple pedagogic activities, or to offer a cognitive context
for the practices. Chapters will vary in length (standard: 4,000 words and
concise: 2,000 words) with more space being given for core aspects of the
pedagogy.)</span></i><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Body and environment: Sensory stimuli and psychological states
(Concise)</span><span></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>The physicalization of language (Concise)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Movement, Music, and Art (Concise)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Play/Le Jeu and improvisation</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Acrobatics, stage combat and juggling (Concise)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Movement Analysis</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Pantomime Blanche and cartoon mime (Concise)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Melodrama (Concise)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Commedia dell’arte</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Bouffons</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Clowns</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Text (Concise)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>The L.E.M. (The <i>Laboratoire d’Étude du Mouvement</i>)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Autocours, Les Inquêtes and Les Commandes</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><b><span>Section 3: Legacy</span></b><b><span style="font-size:16pt;font-family:Cambria"></span></b></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">The Section Introduction will
give an overview of the many ways in which Lecoq’s teaching is influencing
performance pedagogy internationally, and how it interweaves with wider trends
that are becoming evident in twentieth century and contemporary theatre, and
other arenas. The introduction also acknowledges and briefly describes
phenomena that are significant but, for various reasons, have not been accorded
their own chapter. These would include, for example, Lecoq graduates who teach
in drama schools in countries other than the UK and the USA, and the practice of
companies running short workshops as they tour.</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Chapter Topics:</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Lecoq and interculturalism in twentieth century theatre</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Contemporary theory and performance practice</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Post-Lecoq pedagogy and the independent theatre studio</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Lecoq graduates and US drama schools</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>The school now and into the future </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><b><span>Section 4: Diaspora</span></b><b><span style="font-size:16pt;font-family:Cambria"></span></b></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Lecoq was fond of telling his
students that he was training them for a theatre that did not yet exist –
a provocation to create new forms of theatre. The introduction explains how
this section addresses the work of actors, directors, writers, clowns and
others in response to this provocation. It is by no means exhaustive – the
sheer volume of work that originates from Lecoq’s school precludes this.</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">(<i>Chapters in this section
will have varied formats as some will be written by the artists themselves,
others will be written about them, and some will be composed of interview
material. We invite proposals on the topics mentioned below and will also
accept proposals on other topics in this area. Other than the case studies of
particular companies, the topics below give examples of the way in which
authors should seek to identify themes, trends, or principles that have become
evident in the work of Lecoq-trained practitioners</i>. <i>We also intend to
have a capacity for linking to video material, either on a companion website,
or in the Routledge Performance Archive).</i></span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Chapter Topics</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Théâtre du Soleil</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Footsbarn</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Mummenschantz</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Théâtre de Complicité, Complicite and Simon McBurney</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>The Movement of Words: Yasmina Reza (France) and Theatre Columbus
(Canada)</span><span></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>‘Le Jeu’ in the world of medicine: Brazil’s ‘Doctors of Joy’ and
The Clod Ensemble’s ‘Performing Medicine’ in the U.K.</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Physical expression and the body as intercultural agent - South
Africa’s Magnet Theatre and Toronto’s Why Not Theatre</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Directing: James McDonald, Luc Bondy, and Leah Hausmann</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Lecoq and film; Geoffrey Rush, Toby Jones and Julie Taymor</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>UK Generations – e.g. Moving Picture Mime Show, MummeranDada,
Brouhaha, Hoi-Polloi, Peepolykus, and Theatre O.</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><span style="font-size:19pt;font-family:Cambria">·</span><span style="font-size:9pt;font-family:"Times New Roman"">
</span><span>Conclusion (Editors)</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Chapters should be 3,500 –
4,000 words long.</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Chapters may be written as
conventional academic essays, but we also welcome suggestions for chapters that
are constructed around interviews, case studies or other primary source
material. There is also a possible opportunity for a 'photographic essay'
as a contribution if an author wishes to propose this.</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">We invite anybody who is
interested in proposing themselves as a possible chapter author in this
Companion volume to contact Rick Kemp directly at: </span><a href="mailto:rkemp@iup.edu" target="_blank"><span style="font-size:19pt;font-family:Calibri;color:windowtext">rkemp@iup.edu</span></a><span style="font-size:19pt;font-family:Calibri"><span> </span>In the first instance we require: an
indication of which chapter(s) you would be interested in writing and why, a
250 word abstract for the chapter(s), and a short biographical statement
outlining your academic and/or performance and/or pedagogical background and
any relevant affiliations. A more detailed outline of the proposed structure
and content of the book is available on request.</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Timeline:</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Expressions of interest and
abstracts to reach the editors by: <span tabindex="0" class=""><span class="">Friday 28 March 2014</span></span></span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Response from editors, and if
successful, invitation to submit chapter: <span tabindex="0" class=""><span class="">9 May 2014</span></span></span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Deadline for submission of
chapters: <span tabindex="0" class=""><span class="">31 October 2014</span></span></span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Editors’ comments and
suggestions to authors by: January 2015</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Deadline for revised
chapters: February 2015</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Typesetting and proofing:
March - June 2015</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri">Intended date for
publication: Autumn 2015</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><b><span>Mark Evans</span></b><span style="font-size:19pt;font-family:Calibri"> is Professor of Theatre Training and Education
and Associate Dean of the School of Art and Design at Coventry University. He
is the author of <i>Movement Training for the Modern Actor</i> (Routledge,
2009) and <i>Jacques Copeau</i> (Routledge, 2006), and is an Associate Editor
of the Theatre Dance and Performance Training journal. Mark is a co-convenor of
the Performer Training Working Group in the Theatre and Performance Research
Association. He studied with Jacques Lecoq, and with Philippe Gaulier and
Monika Pagneux, in Paris in the 1980s.</span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal" style="text-autospace:none"><span style="font-size:19pt;font-family:Calibri"> </span><span style="font-size:16pt;font-family:Cambria"></span></p>
<p class="MsoNormal"><b><span style="font-size:19pt;font-family:Calibri">Rick
Kemp</span></b><span> is Professor of Theatre and Head of Acting and Directing at Indiana
University of Pennsylvania. He has received awards on both sides of the Atlantic
for his work as an actor and director, including the Institut Français award,
the British Telecom Innovations Award, and the 2004 Heinz Endowments Creative
Heights Award. Rick trained with Philippe Gaulier and Monika Pagneux in Paris
in the 1980s, holds an MA from Oxford University, an MFA in Performance
Pedagogy, and a PhD in Theatre and Performance Studies. He is the author of <i>Embodied
Acting: What Neuroscience Tells Us About Performance </i>(Routledge, 2012).</span></p>
Rick Kemp, PhD<br>Professor, Head of Acting and Directing<div align="left">Department of Theater and Dance<br><i><font color="#ff0000">Embodied Acting: What Neuroscience Tells Us About Performance</font></i></div><div align="left">
<font color="#ff0000">Routledge 2012</font></div><font color="#ff0000"><a href="http://www.routledge.com/books/details/9780415507882/" target="_blank">http://www.routledge.com/books/details/9780415507882/</a></font></div>