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勒科克先生曾在德國任教，1948年移居義大利。在帕多瓦，雕塑家Amleto Sartori 阿姆萊托·薩托里同意為他製作即興喜劇面具。勒科克先生也與喬治·斯特雷勒關係密切，並協助他創辦了小劇院（Piccolo Teatro）戲劇學校。此外，他還與義大利喜劇演員、劇作家達裡奧·福在羅馬電影城（Cinecitta）共事。
勒科克先生並不欣賞當時法國的默劇潮流。他認為，重要的是「走向開放式啞劇，而不是走向封閉於沉默之中的默劇」。他用艱苦的體能和情感訓練來訓練學生，訓練內容涵蓋雜技和滑稽表演等。學生們努力逗同學們發笑，並學會如何從內心深處挖掘幽默感。戴著面具，他們學會如何透過肢體動作將臉部表情轉化為生動的表達。
勒科克先生教導說，默劇並非模仿，甚至也不是炫技。好的默劇雖然嚴謹且風格化，卻可以自然流暢，甚至充滿趣味。正如他所說，啞劇可以“解放身體”，並揭示不同民族之間與生俱來的文化差異。 「現在你們的任務是克服我的影響力，」他曾這樣告誡即將從兩年制課程畢業的學生。
勒科克先生在1980年代表演了獨角戲《萬物皆動》（Tout Bouge），並在歐洲和美國開設了大師班《物之軀》（Le Corps des Choses）。他的戲劇評論集《詩意之軀》（Le Corps Poetique）去年在法國出版。在他去世前不久，他還參與製作了一部兩集紀錄片《雅克·勒科克的兩次旅行》（Les Deux Voyages de Jacques Lecoq）。
Mr. Lecoq taught in Germany, moving on to Italy in 1948. In Padua, the sculptor Amleto Sartori agreed to make commedia dell'arte masks for him. Mr. Lecoq also became close to Giorgio Strehler, organizing his Piccolo Teatro theater school, and worked at the Cinecitta film studios with Dario Fo, the Italian comic, actor and playwright.
Mr. Lecoq did not admire French mime trends of his time, believing, he said, that it was important to move ''toward open mime and not toward the mime which is enclosed in its own silence.'' He trained his students with strenuous physical and emotional exercises, which ranged from acrobatics to clowning. Struggling to make their classmates laugh, students learned to be funny from within themselves. Wearing masks, they learned how body movements could turn facial blankness into expression.
Mime, Mr. Lecoq taught, was not imitation or even virtuoso technique. Though disciplined and stylized, good mime could be spontaneous and even playful. It could ''liberate the body,'' as he put it, and reveal innate cultural differences among nationalities. ''Now your job is to get over me,'' he told students graduating from the two-year program.
Mr. Lecoq performed a one-man show, ''Tout Bouge'' (''Everything Moves''), in the 1980's and taught a master class, ''Le Corps des Choses'' (''The Body of Things''), in Europe and the United States. ''Le Corps Poetique,'' a book of his writing on theater, was published last year in France and he collaborated on a two-part documentary, ''Les Deux Voyages de Jacques Lecoq,'' just before his death.
詩意的身體
內容簡介
Cumberbatch's meteoric rise in Hollywood is matched by Hunter's impressive accomplishments in avant-garde theater. A graduate of Oxford University with a degree in Modern Languages, Hunter honed her craft in Paris, studying at the prestigious L'École Internationale de Théâtre Jacques Lecoq. Her work as a director has earned her acclaim for its innovative storytelling and visual elegance, evident in productions like The Terrific Electric.
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「太可怕了！」「就像吸塵器一樣！」菲利普·高利耶是一位嚴厲的老師，他要求學生們挖掘自己內心深處隱藏的荒誕之處。我們緬懷這位小丑大師的一生。
訃聞 | 菲利普高利耶拒絕容忍無趣的人
economist.com
訃聞 | 菲利普高利耶拒絕容忍無趣的人
備受尊敬的小丑、喜劇新秀的「折磨者」菲利普·高利耶逝世，享年82歲
他經常羞辱他的學生，但許多學生最終成為了明星，包括薩莎·拜倫·科恩、艾瑪·湯普森和蕾切爾·薇姿。
一張他的特寫鏡頭，他戴著一副深色圓框眼鏡，眼鏡上裝著一個碩大的紅色和橙色假鼻子，臉上帶著扭曲的表情。他留著修剪得很短的灰色鬍鬚。
菲利普·高利耶，2001年。 「如果你只想一輩子平庸無奇，」他曾說過，「那你永遠也成不了小丑。」圖片來源：菲利普‧霍利斯
Philippe Gaulier, Revered Clown and ‘Tormentor’ of Aspiring Comedians, Dies at 82
He often insulted his pupils, but many became stars, including Sacha Baron Cohen, Emma Thompson and Rachel Weisz.
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