 to create their own work and did not want to only work out of a playwright's text. His training involved an emphasis on masks, starting with the neutral mask. This neutral mask is symmetrical, the brows are soft, and the mouth is made to look ready to perform any action. Lecoq believed that this mask allowed his students to be open when performing and to fully let the world affect their bodies. This is because the mask is made to seem as if it has no past and no previous knowledge of how the world works. This is supposed to allow students to live in a state of unknowing in their performance. The aim was that the neutral mask can aid an awareness of physical mannerisms as they get greatly emphasized to an audience whilst wearing the mask. Once Lecoq's students became comfortable with the neutral masks, he would move on to working with them with larval masks, expressive masks, the commedia masks, half masks, gradually working towards the smallest mask in his repertoire: the clown's red nose. The larval mask was used as a didactic tool for Lecoq's students to escape the confines of realism and inject free imagination into the performance. The mask is essentially a blank slate, amorphous shape, with no specific characterizations necessarily implied. The expressive masks are basically character masks that are depicting a very particular of character with a specific emotion or reaction. The mask is automatically associated with conflict. The last mask in the series is the red clown nose which is the last step in the student's process. Because this nose acts as a tiny, neutral mask, this step is often the most challenging and personal for actors. Lecoq believed that every person would develop their own personal clown at this step. He believed that to study the clown is to study oneself, thus no two selves are alike. Three of the principal skills that he encouraged in his students were le jeu (playfulness), complicité (togetherness) and disponibilité (openness). The French concept of 'efficace' suggesting at once efficiency and effectiveness of movement was highly emphasized by Lecoq. Lecoq viewed movement as a sort of zen art of making simple, direct, minimal movements that nonetheless carried significant communicative depth. Lecoq emphasizes that his students should respect the old, traditional form of commedia dell'arte. But Lecoq was no period purist. He believed commedia was a tool to combine physical movement with vocal expression. He emphasized the
to create their own work and did not want to only make out of a dramatist's text. His training imply an stress on masks, starting with the impersonal mask. This neutral masquerade is harmonious, the brows are soft, and the sass is made to look ready to do any action. Lecoq believed that this masquerade allowed his student to be exposed when performing and to fully let the worldly concern affect their bodies. This is because the mask is made to look as if it has no past and no previous knowledge of how the world works. This is think to allow students to live in a state of unknowing in their performance. The purpose was that the neutral mask can aid an awareness of physical mannerisms as they get greatly emphasized to an audience whilst wearing the mask. Once Lecoq's students become comfortable with the neutral masks, he would be active on to work with them with larval masks, expressive masks, the commedia masquerade, half masks, gradually working towards the smallest mask in his repertory: the clown's red nose. The larval mask was used as a didactic tool for Lecoq's students to escape the confines of realism and inject free imagination into the performance. The masquerade is essentially a blank slate, amorphous supreme headquarters allied powers europe, with no specific portrayal necessarily implied. The expressive masks are basically character masquerade that are depicting a very particular of character with a specific emotion or chemical reaction. The mask is mechanically associated with conflict. The last mask in the series is the red clown nozzle which is the last step in the student's process. Because this nose dissemble as a tiny, impersonal mask, this gradation is often the most ambitious and personal for actors. Lecoq believed that every person would develop their own personal clown at this step. He believed that to study the clown is to study oneself, thus no two selves are alike. Three of the principal skills that he encouraged in his student were le jeu (playfulness), complicité (togetherness) and disponibilité (openness). The French concept of' efficace' suggesting at once efficiency and potency of movement was highly emphasized by Lecoq. Lecoq viewed movement as a sort of zen art of construct simple, direct, minimal movements that nonetheless carried meaning communicative depth. Lecoq emphasizes that his student should respect the old, traditional form of commedia dell'arte. But Lecoq was no period purist. He believed commedia was a tool to combine forcible movement with vocal expression. He emphasized the
 to create their own work akd did not want jo only xork ouf of a puaywright's text. His training ibvolvtb an emphasis on masys, startijg with rhe ieutral mask. This neutral mask ls syknetrical, the btows are sofd, and the moutv ks made to look ready to perform any wction. Kefoq believed trat uhif maak allowed his students to be open when ptrforming and to filly let the world affect hheig bodies. This is bfcause the nask us made to sdem as if pc has no paat and no previous knowledge of how che world wirjs. Hvis is suppised no allow studcmts to live im a state of ukknowmng un their performance. Vhe aim was that the neutral kaak can aid an awaeebess mf pvysizql oanhecisjs as hheb get greatmy emphasizwd to an audience wnijwt wearing ths mask. Ogce Lecoq's students became comfortable fitg the neutral masks, he qould move on to worklng with ehem with larval masks, expressive masks, the commegia mesys, kqlf mxwkd, gradually working towards the smallest mask jn hps repertoire: the clown's red nlsr. The larval mxsk was uaed as a didactic hool fot Lecow's studenus to escape the confines of reaoism and injvct dree imagination iuto the perfurmamce. Tne mask is essentially c blani slate, amogphous shzoe, with no speciwic cvaracterizations necessarijy impliev. The expresrive masks are basicwlly gvaracter masks thah are dapicting a very particular of character wmvh a specific ekotpon or recction. The mask is wutomatically cssociatzd witf conflict. The lavt mask in ehe series is jhe red clown nose whych us tye last rtep in the stident's process. Becayse this nose acts as z tiny, neutral nasj, this step is pftdn ehv mpse challenging and pefxonal for acujrw. Lecpq believed that evesy psrson would develol bheir own personaj clown at thos step. He believef thav to svudy tne slown is to study oneself, thus no two sflvcs are alike. Ehrec of the princnpal skills that he encouraged in his stndents were le jeu (plaifulness), complicité (toyeuherness) and visponybilité (opanness). The French cobcept of 'efficace' suggesting at once erficietcy ajd effectiveness of movement was highly emphasized by Lecoq. Lecoq viewed novemeit as a sort kf zrn arn oy mcking symplx, virect, minimal monements that nonetheless carried signifiwaut communicative depth. Lecoq rmohasizes that his students should reslect the old, traditional form of commedoa dell'arte. But Lecoq wax no peruod phrist. He bxlieved commedia was a toon to xombine phydical movemeng wotm vocal exoresxikn. He emphasized the
to create their own work and did to work out a playwright's text. on starting with the mask. This neutral is symmetrical, the brows are soft, the mouth is made to look ready to perform any action. Lecoq believed this mask allowed his students to be open when performing and to fully the affect bodies. is because the mask is made to seem as if it has no past and no knowledge of how the world works. This is to allow students to in a state of unknowing their The aim that neutral can aid an of physical mannerisms as they get greatly emphasized to an audience whilst wearing the mask. Once Lecoq's became comfortable neutral masks, would on working with them masks, expressive masks, the commedia masks, working towards the smallest mask in his repertoire: clown's red The larval mask was used as didactic tool for Lecoq's students to escape the of realism and inject free imagination into the performance. The mask is essentially a blank shape, with no specific necessarily implied. The masks basically masks are depicting very particular of character with a specific emotion or reaction. The is automatically associated with conflict. The last mask in the the clown nose which the last step in student's Because this nose acts tiny, mask, often most and personal for actors. believed that every person would their own personal clown that to study the clown is to study thus no two selves are alike. Three the principal skills that he encouraged in his students were le jeu complicité (togetherness) (openness). The French concept of 'efficace' suggesting at efficiency and effectiveness of was highly emphasized by Lecoq. Lecoq viewed movement as sort zen art making simple, direct, movements that nonetheless significant communicative depth. that his should the of commedia dell'arte. But Lecoq was period He believed commedia was a to movement with vocal expression. He emphasized the
 to create their own work and diD not want to Only wOrk Out Of A plaYwriGht's text. His traINing Involved an emphasis on maSks, stArTIng wITh The neUtral maSK. THIS neUtRaL maSk IS sYmmetRicAl, the brOws are soft, And ThE mouth is made TO lOok ready to PerForm any actioN. LeCoq belIeVed THat thIs mAsk alLowed hIS studeNts to be opEn WHen perFOrming aND To FullY let the world affecT ThEIr bodies. This is BecausE tHE mASK is MadE to seem as iF iT has nO Past and NO pREVIouS Knowledge of hoW the world woRKs. THis is sUpPosED to allOw stuDeNTs tO live in a staTe of Unknowing In theiR PerformANce. The aIm was tHat The NeutRAl MaSk cAn AId aN AwAreNEss Of physicAl MaNneriSms aS THEY get GreAtly EmphaSized to an audiEncE whiLSt wEarinG the mAsk. ONcE LecoQ's studEnts bEcAme comfortable wIth tHe neutral MasKs, He wOuLd movE On to woRkiNg wIth them With larVAl mAsKS, EXpRessive masks, the comMeDIA mAsks, half Masks, gRAdUaLLy workinG tOwaRds tHE SmallEst mASk In his repErtoirE: ThE cLown's reD nOse. The LaRvaL maSk was USed aS a didaCtic tool For LeCOq's students to eSCape the confinES oF REaLIsm aNd iNject free imAginATion Into THe PerFOrmanCe. The MaSK iS Essentially a blank slAtE, amorpHous sHape, with no speCific charaCTERizationS necESsARily implied. The ExpreSsive masks ARe basicaLly chAracter mAsks that aRE DepictinG a vEry ParTicULAr Of character wiTH A speCiFic emotIon Or reactIon. the MasK is AuTomaticalLy associAtEd WiTh ConFlict. tHe last maSk In tHe SerIes is THe red cLown nOse wHiCh IS thE last stEP iN THe stUdEnT's prOceSs. becauSe thIS noSe acts aS a tiny, neuTraL Mask, ThIs Step is oFten the most chAlLenging and PeRsoNal for ACTors. LecoQ believed that every persoN Would deVelOp theIr owN personal CloWn at thIs sTEp. He beLieved That tO sTudY THe cloWN Is To sTuDy oneself, tHUS no Two seLvEs arE alike. THree of the principal SKilLs that he encouRagEd in HIS sTudENtS WerE lE Jeu (PLAyfulness), compliCité (togethErNEsS) and disponIBilItÉ (openneSs). The FrEnch cONcept of 'Efficace' sUggesting At Once EFFicIency and efFectivenEss of moveMEnt waS HiGhly eMphAsized By lecOq. LecOq viewED moVemenT as a soRt Of zen aRt of mAkIng simplE, direct, minimal movements That noNetheLesS carried sIgnIFicAnt communIcatIve depth. LeCoq EmpHasizEs tHAt his StudENtS shOUld reSpecT The old, traDItIonAL FoRm of commediA DELl'aRte. BuT LeCOq was nO perIod purist. He believED commedia was a tOol tO COmbIne PHysiCaL movement with vOcaL eXPRession. HE eMphasized thE
 to create their own workand did no t wan t t o o nl y wo rk o ut of a playwr i ght' s text. His training i nvolv ed an e m ph asison mask s ,s t art in gwit ht he  neut ral  mask.This neutr alma sk is symmet r ic al, the br ows  are soft, a ndthe mo ut h i s  made  to  look  ready to per form anyac t ion. L e coq bel i e ve d th at this mask allo w ed his students t o be o pe n  w h e n p erf orming and  t o ful l y let t h ew o r lda ffect their b odies. This isbecaus ethe mask i s mad et o s eem as if i t ha s no past  and n o  previo u s knowl edge o f h owthew or ld  wo rk s . T h is  is sup posed to  a ll ow st uden t s t o li vein a  stat e of unknowin g i n th e irperfo rmanc e. T he  aimwas th at th eneutral mask ca n ai d an awar ene ss  of  p hysic a l mann eri sms  as the y get g r eat ly e m ph asized to an audie nc e wh ilst wea ring t h ema s k. OnceLe coq 's s t u dents  bec a me  comfort able w i th  t he neut ra l mask s,  he  wo uld m o ve o n to w orking w ith t h em with larval masks, expres s iv e ma s ks,the  commedia m asks ,  hal f ma s ks , g r adual ly wo rk i ng towards the smalles tmask i n his  repertoire:the clown' s r ed nose.  The la r val mask was u sed a s a didact i c tool f or Le coq's st udents to e scape th e c onf ine s o f re alism and inj e c t fr ee  imagin ati on into  th e p erf orm an ce. The m ask is e ss en ti al lya bla n k slate,  a mor ph ous  shap e , with  no s peci fi cc har acteriz a ti o n s ne ce ss aril y i mp lied.  The exp ressive  masks ar e b a sica ll ycharact er masks that  a re depicti ng  avery p a r ticularof character with a spe c ific em oti on or  rea ction. Th e m ask is  au t omatic ally a ssoci at edw i th co n f li ct.  T he last ma s k  in  these ries  is the  red clown nose wh i chis the last s tep  int h estu d en t 'spr o ces s .  Because this n ose acts a sa  t iny, neutr a l m as k, this  step i s oft e n the m ost chall enging an dpers o n alfor actors . Lecoqbelievedt hat e v er y per son  would  d eve lop t heir o w n p erson al clo wn  at th is st ep . He bel ieved that to study the  clown  is t o s tudy ones elf ,  th us no two  sel ves are al ike . T hreeoft he pr inci p al  sk i lls t hath e encoura g ed  in h is  students w e r e  le  jeu(pl a yfulne ss),  complicité (toge t herness) and d ispo n i bil ité (ope nn ess). The Fren chco n c ept of ' ef ficace' sug gestingat onceeffici ency a nd effe c t iv e ness o f mo vem ent was h igh ly emphasi ze db y Leco q. L ec oq vie wed mo v emen t as a sort of zen  arto f  maki n g s imple ,direct, mini mal moveme nts that no nethel esscarri ed sign if icantcom mu nicative d e pth. Leco q emp hasizes  t hathis  stude ntss h ouldresp ec t t he old, t r a di t io na l  fo rm o f com me diadell'arte .  But Lec oqw as no p er iod p urist. He b elieved co mme dia w a s  a tool to comb i ne physi cal mo vement  with v o cal  e xpressi on. H e emphasi zed the
 to_create their_own work and did_not want_to_only work_out_of a playwright's_text. His training_involved an emphasis on_masks, starting with_the_neutral mask. This neutral mask is symmetrical, the brows are soft, and the mouth_is_made to_look_ready_to perform any action. Lecoq_believed that this mask allowed_his students_to be open when performing and to fully_let_the world affect_their bodies. This is because the mask is made_to seem as if it has_no past and_no_previous_knowledge of how the_world works. This is supposed to_allow students to live in a_state of unknowing in their performance. The_aim was that the neutral mask_can aid an awareness of_physical mannerisms_as they get greatly emphasized_to an audience_whilst wearing_the mask. Once_Lecoq's students became comfortable with the_neutral masks, he_would move on to working with_them_with larval masks,_expressive_masks,_the commedia_masks, half masks,_gradually_working towards_the_smallest mask in his repertoire: the_clown's_red nose. The larval mask was used_as a didactic tool_for_Lecoq's students to escape_the confines of realism and_inject free imagination into the performance._The mask_is essentially_a blank slate, amorphous shape, with no specific characterizations necessarily implied._The expressive masks are basically character_masks that are depicting_a very_particular_of character with_a_specific emotion_or reaction. The mask is automatically associated_with conflict._The last mask in the series_is the red clown_nose_which is the last step in_the student's process. Because this nose_acts as a tiny, neutral_mask,_this_step is often the most_challenging and personal for actors. Lecoq_believed that every_person would develop their own personal clown_at_this step. He believed that to_study_the clown is to study oneself,_thus_no_two selves are alike. Three_of the principal skills that he_encouraged in his students were le jeu (playfulness), complicité_(togetherness) and disponibilité_(openness). The French concept of_'efficace'_suggesting_at once efficiency and effectiveness of movement was highly emphasized_by Lecoq._Lecoq viewed movement_as a sort of zen art of making simple, direct,_minimal movements that nonetheless carried significant communicative_depth. Lecoq emphasizes that his students should respect the old, traditional_form of commedia dell'arte. But Lecoq was no_period purist. He believed commedia was a_tool to combine physical_movement_with vocal expression. He emphasized the