We compare the temporal and directional processing properties of an identified auditory interneuron, ON1, between species with calling songs containing relatively low and high pulse rates (Teleogryllus oceanicus and Gryllus texensis, respectively). Using information theory, we find that the ON1 of G. texensis encodes higher amplitude-modulation frequencies than that of T. oceanicus. Bilateral differences in ON1 responses are also more pronounced in G. texensis, particularly for rapid, G. texensis-like stimuli. We show that brief silent intervals in a pulse train, such as those that occur in the natural calling song of G. texensis, enhance the representation of the stimulus pulse pattern as well as bilateral differences in activity. Our results suggest that the characteristics of an identified neuron vary, across cricket species, in accordance with the temporal structures of their communication signals.

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This essay describes how an actor trained in what I call 'the Lecoq tradition' may approach Shakespearean performance. After giving a brief context for Lecoq's influence, I indicate some ways in which the actor uses his or her body in a playful and rhythmically precise manner to construct and perform meanings in the theatre. I show how a conception of theatre as 'game' can be transposed into the dramatic dimension. The primary impulse behind Lecoq-influenced work is a search for form, and I discuss how this can reveal itself through an eclectic approach to style and genre that sometimes leads to accusations of 'intercultural tourism'. Examples of Lecoq-inflected practice are drawn from Shakespearean productions by Ariane Mnouchkine ( Richard II ) and Complicite ( The Winter's Tale, Measure for Measure ) as well as my own work for the University of Central Lancashire in Preston ( A Midsummer Night's Dream, Macbeth ). At the close, I reflect upon some of the issues at stake in the agendas and practices of the Lecoq tradition.

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lAFP 2 (2) pp. 153-165 © Intellect Ltd 2009 153 Keywords conceptual ground plan theatrical shorthand the uncanny defamiliarization The production was a collaboration between the performing art<; department<; of the Universities of Lincoln and Central Lancashire. and performed to audiences averaging 89 per cent at C Soco studios. Chambers Street. Edinburgh during Au gust 2008. The ori gin of this article was a paper given at the University of Lincoln for a symposium called ~ltend The Tale: New Contexts for Sweeney Todd'.