Murphy examines Lecoq's notions of play and improvisation through enaction to show how they are ideal examples of the continuity between lower-level and higher-level cognition. This chapter includes a discussion on Lecoq's neutral, larval, and expressive masks as tools for the actor-creator to learn how to navigate the many dimensions available to the performer. Murphy concludes with a discussion on how both Lecoq and an enactive perspective envision language as a capacity that arises from the body's engagement with movement. In this way Lecoq's insistence on starting from movement is revealed not as a bias against words or text-based theatre, but rather as a commitment to using a continuity of life and mind to equip the actor-creator with flexible capacities for theatrical expression.