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A theatre practitioner’s perspective

Authored by: Carlos García Estévez , Paige Allerton

The Routledge Companion to Jacques Lecoq

Print publication date:  August  2016
Online publication date:  September  2016

Print ISBN: 9781138818422
eBook ISBN: 9781315745251
Adobe ISBN: 9781317594635

10.4324/9781315745251.ch19

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Abstract

In 2013, a production house from Kuala Lumpur, Malaysia, invited me to direct a project and do a performance. I had 16 days to put together an hour-long show with 16 artists from China, Korea, Malaysia, Belgium, Germany, Spain and Iran – most of these being very far from my own culture. Additionally, every artist that was in the cast originated from different disciplines. I had musicians and dancers from Bali and Malaysia. They all came from their own traditions, which meant they were each codified in and conditioned to their own different art forms. I had puppeteers from Peking Opera, the Iranian tradition of puppeteering and some European puppetry. The project was a melting pot of disciplines, cultures and languages. There were five or six people who did not speak any of the languages I speak, requiring two different translators. People from Iran, for example, did not speak any French or English; they only spoke Iranian. Similarly, some of the Malaysian and Chinese people had poor English. Translating text and communication within a 16-day project was in itself a big challenge. However, this constraint leads to one of the most interesting challenges: the necessity for a universal, concrete, poetic theatrical language.

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