[P]lay is the driver of creativity. Without a disposition – and ability – to play it is impossible to produce the conditions whereby the actor/performer is a creator rather than simply interpreter. While the divisions between being a creative as opposed to an interpretative actor are neither rigid or impermeable, Lecoq is proposing a model of performing where the actor is the (co-) author-maker of material whether it is physical, spoken, musical or imagistic’ (2010: 223)
