etics. Jean Daste, within whose school and company Lecoqwas to initially train, had worked directly with Copeau. In the current production, there are a number of performers who have studied his work atLEcole Jacques Lecoq in Paris. These include Antonio Gil Martinez, Eric Mallet, Clive Mendus,Stefan Metz and Cesar Sarachu. Director Simon McBurneys training and work in Paris alsoincluded an association with this artist. All of these actors appeared in the original production ofStreet of Crocodiles at the Royal National Theatre Studio in 1991. Each of them has had a relationship with the piece since the beginning of its development on the stage. Collectively, theseartists brought with them the methods of approach and exploration passed on by Lecoq. In the article Mime, Movement, Theatre appearing in Rolfes book, Lecoq comments on thenature of the work he explores.Often people ask me What is it you do in your school, is it mime? I always feel that the one who asks that question limits the school to a wordless formalism. The word mime already is restricting. One sees a performer who does not speak and who makes stylized gestures to show imaginary objects, or makes faces to have you understand that he laughsor cries. Then I answer that I dont do mime, not that kind.This rudimentary anti-description of the focus of his endeavors is actually the basis Lecoqsart. His aim is to develop what is real and present in a performers physical experience. Thisdeparture from a more classical approach to mime work is what deepens the effect of the truth in hiswork. Lecoq defines his work as fundamental. He seeks to give expression to the seat of experiencerather than to represent an action for viewing. He believes that the response to any stimuli a charactercan encounter is the source of theatrical articulation. This determines the performers action to be onlywhat they can achieve truthfully with their own presence. The movement Lec...
