Towards the Performer-Creator in Contemporary Mime, with Specific Reference to the Physical Theatre of Andrew Buckland 1988-2000
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Marcel Marceau with JEAN-LUC VERNA and JONATHAN LAMBERT
Presented by in Arbor THE UNIVERSITY imer MUSICAL SOCIETY OF THE HstiM UNIVERSITY OF MICHIGAN Marcel Marceau with JEAN-LUC VERNA and JONATHAN LAMBERT Two different programs: Saturday and Sunday, July 7 and 8, 1984, at 8:00 (Program I) Wednesday and Thursday, July 11 and 12, 1984, at 8:00 (Program II) Power Center for the Performing Arts Ann Arbor, Michigan Mr. Marceau will make his selections from the following: Style Pantomimes Walking Contrasts Walking Against the Wind The Maskmaker The Staircase The Seven Deadly Sins The Tight Rope Walker Youth, Maturity, Old Age and Death The Public Garden The Tango Dancer The Bill Poster The Small Cafe The Kite The Dice Players The Sculptor The Four Seasons The Painter The Dream The Cage The Creation of the World The Bureaucrats The Trial The Hands The Angel Rememberances The Dress The Side Show The Tree The Pickpocket's Nightmare The Amusement Park INTERMISSION Bip Pantomimes Bip in the Subway Bip as a Baby Sitter Bip Travels by Train Bip as a Professor of Botany Bip as a Skater Bip as a Lion Tamer Bip Hunts Butterflies Bip Looks for a Job Bip Plays David and Goliath Bip in the Modern and Future Life Bip Commits Suicide Bip as a Tailor in Love Bip as a Soldier Bip Dreams He Is Don Juan Bip at a Society Party Bip, Great Star of a Traveling Circus Bip as a Street Musician Bip and the Dating Service Bip as a China Salesman Bip as a Great Artist Bip as a Fireman Bip Remembers Presentation of Cards by Jean-Luc Verna About the Artist Marcel Marceau, master of the ancient dramatic art of mime, brings his creative genius and his esteemed teaching abilities to the first Ann Arbor Summer Festival. -
PANTOMIME for ACTORS This At-A-Glance Tool Identifies the Exercises, Performance Indicators and Targeted Skills
T H E A T E R — 4 TH GRADE AT-A-GLANCE PLANNING TOOL: PANTOMIME FOR ACTORS This At-A-Glance Tool identifies the exercises, performance indicators and targeted skills. It also includes the assessment strategies I planned for a specific unit (Unit Two), and how I intended to document evidence of learning. Unit II At-A-Glance: Theater (Pantomime) Performance Assessment (*: Main exercises in that session - Bold font: exercise paired with assessment strategy/ies - V: videotaping) UNIT & Performance Indicators New Skill or SESSION EXERCISES or Variation Challenge ASSESSMENT STRATEGIES What are we assessing? 2-One *The Wall preparation/hands placement/in place *The Rope preparation only/posture 2-Two *The Wall in place touch/change The Rope posture, steps 1 & 2 The Tower exploring balance only/V feet 2-Three *The Wall in place TRAVELING *The Tower inclination side to side 2-Four The Wall: with traveling reflection/Self describe and identify *The Rope steps 1-3 step 3 The Tower inclination side to side *Serpentine Movement standing 2-Five *The Rope steps 1-4 step 4 Serpentine Movement standing-head to toe *The Wall with traveling ROTATION 2-Six The Rope The Tower Serpentine Movement standing-head to toe *The Walking steps 1 & 2 2-Seven *The Walking steps 1 & 2 *The Wall with traveling and rotation 2 sides/walls The Tower *The Rope 2-Eight *The Walking steps 1-3 step 3 checklist/Teacher V: steps 1, 2, posture The Tower The Rope The Wall ROTATION 2-Nine *The Walking steps 1-3 step 3 checklist/Peer V: steps 1, 2, posture Serpentine Movement seated The Wall ROTATION accountable Talk/Peer technique and rotation checklist/Teacher V: technique 2-Ten *The Walking steps 1-3 step 3 checklist/Peer steps 1, 2, 3 *Triple steps 1-3, reverse Movements…Head The Rope steps 1-4 checklist/Teacher V: technique 2-Eleven *The Walking steps 1-3 ROTATION Triple steps 1-3, reverse reflection/Self describe and Movements…Head identify RESOURCES: PANTOMIME FOR ACTORS There are a few books on movement and pantomime I recommend. -
Mime. This Study Was Executed in a Four-Month Class Taught at Texas Tech University
MIME AS AN ACTOR TRAINING TECHNIQUE A PROFESSIONAL PROBLEM by DEBORA FAY DAVIS, B.F.A., M.F.A. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted May, 1991 Copyright 1991 Debora Fay Davis ACKNOWLEDGMENTS I would like to thank my committee for their support with a particular debt of gratitude to Dr. George W. Sorensen for all of his guidance and direction in this project. I would also like to thank the students in my class who made this project possible through their hard work and patience. I would particularly like to thank my parents who have always been there when I needed them through the thick and the thin of it all. Thanks to you all for allowing me to work on a project that is very dear to my heart! 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT v CHAPTER I. INTRODUCTION 1 Background of the Problem 1 Methodology 5 11 . MIME IN SEARCH OF ITS MARK 12 What is Mime? 12 A Brief History of Mime 28 III . THE EMPLOYMENT OF THE EXERCISE 45 The Body 48 The Arms 60 The Legs 72 The Complete Illusion 80 IV. THE MATURATION OF THE MIME 92 The Complete Mime 94 The Fantastic Mime 97 The Realistic Mime 110 The Improvisation 121 V. THE INTERDISCIPLINARY INTEGRATION 128 The Interdisciplinary Philosophy 131 The Interdisciplinary Mime 139 iii VI . PROPS AND PECULIARITIES OF THE MIME 162 Costumes 165 Makeup 167 Silence 170 Masks 17 4 Props and Scenery 178 VII. -
January 2021
ESTMINSTER Volume XII No.1 UARTERLY January 2021 A Jewish society wedding c.1892 Anglo-Jewish High Society The Philippines and the Holocaust The Children Smuggler ‘The Little Doctor’ From the Rabbi ‘Woe is me, perhaps because I have have identified; they suggest that, as the sinned, the world around me is being Festival itself marks increased darkness, darkened and returning to its state of let the candles reflect this reality too. chaos and confusion; this then is the Remove one each day, starting with the kind of death to which I have been eighth. The view of the School of Hillel sentenced from Heaven!’ So he began may also acknowledge that the world is keeping an eight-day fast. getting darker, but the ritual response is the opposite. When the world gets darker But as he observed the winter solstice we bring more light. and noted the day getting increasingly longer, he said, ‘This is the world’s So let us pay respect to both views. course’, and he set forth to keep an eight- Together we have the strength in our day festival. community to acknowledge the darkness in the world, and also to bring more light. (Adapted from the Babylonian Talmud, Many of us in the last year have stepped tractate Avodah Zara, page 8a.) up to contact and care for other members of our community, and we have benefited Together we have the from the resulting conversations and How do we respond to increased relations. We have found new creativity darkness? In Franz Kafka’s short story, strength in our to ensure our togetherness, building Before the Law, a man spends his whole community to special High Holy Days. -
Emerging Artists Bare Their Hearts Through Art
GET YOUR COPY with your MR DELIVERY order from FREE Thurs-Sat each week YOUR FREE GUIDE TO YOUR FREE TIME ÷ 18 February - 24 February 2016 ÷ Issue 611 Play exposes dark underbelly of politics – page 3 Clooney takes us back to 50s Hollywood – page 8 - Page 10 Emerging artists bare their hearts through art LaLiga is coming to Cape Town – page 11 Follow us online: @48hrsincapetown • www.facebook.com/next48hours • www.48hours.co.za The Next 48hOURS • Socials Seen at The Discovery Sport Industry Awards 2016 at Sandton Convention Centre - Pictures by Gallo Images Post Valentine’s Day thoughts Looking for interesting things has Am I fast-forwarding or rewind- ers (especially to younger folk) when How does one, for example, un- become part of me, like an append- ing? Actually neither. I am right they say: “Just be yourself.” How derstand “light” if one cannot open age: observing and listening to eve- where I need to be. A re-watching does one “be yourself” if you have oneself to understanding “dark- Encore rything and everyone absorbedly so of ‘Scent of a Woman’ refers. It is no idea who the hell you are? We are ness”? And, I have also always main- that I might find my topic(s) for the the scene where Al Pacino’s character too often so many different versions tained that you only get to know By Rafiek Mammon week to write about. defends Chris O’ Donnell’s character of ourselves. And when we are no your true self if you are prepared to [email protected] Sometimes I get close to deadline at a school hearing, and he speaks longer around someone remembers spend real quality time with said self day and I have very little to write (in pure Pacino style) about snitches some version of who they thought and bare your honest thoughts and about, but the minute I am at the and integrity and about his soul not you were…like a fading polaroid. -
A Study Guide for Teachers
KAPUT A STUDY GUIDE FOR TEACHERS ABOUT THE STUDY GUIDE Dear Teachers: We hope you will find this Study Guide helpful in preparing your students for what they will experience at the performance of Kaput. Filled with acrobatic thrills and silly blunders, we’re sure Kaput will delight you and your students. Throughout this Study Guide you will find topics for discussion, links to resources and activities to help facilitate discussion around physical theatre, physical comedy, and the golden age of silent films. STUDY GUIDE INDEX ABOUT THE PERFORMANCE RESOURCES AND TOPICS FOR DISCUSSION 1. About the Performer 1. Be the Critic 2. About the Show 2. Tell a Story Without Saying a Word 3. About Physical Theatre 3. Making a Silent Film 4. About Physical Comedy 4. Body and Expression 5. The Art of the Pratfall 5. Taking a Tour 6. The Golden Age of Silent Films (1894 – 1924) 6. Pass the Ball 7. Physical Comedy + Silent Film = Silent Comedy 7. What’s in a Gesture? Being in the Audience When you enter the theater, you enter a magical space, charged, full of energy and anticipation. Show respect by watching and listening attentively Do not distract fellow audience members or interrupt the flow of performance Applause at the end of the performance is the best way to show enthusiasm and appreciation. About The Performer Tom Flanagan is one of Australia’s youngest leading acrobatic clowns. A graduate of the internationally renowned circus school, The Flying Fruit Flies; Tom started tumbling, twisting, flying and falling at the age of six. -
Copy of Tracking 2018
2019 TRACKING OF 5 GRADUATE COHORTS OF MAGNET THEATRE'S FULLTIME TRAINING AND JOB CREATION PROGRAMME MAGNET THEATRE IS ONE OF SOUTH AFRICA’S BEST KNOWN INDEPENDENT PHYSICAL THEATRE COMPANIES THAT HAS BEEN OPERATING IN AND OUTSIDE OF SOUTH AFRICA FOR THE PAST 32 YEARS. MAGNET THEATRE RUNS THE ONLY SUITE OF BRIDGING PROGRAMMES IN THEATRE ARTS FOR UNEMPLOYED YOUTH IN THE WESTERN CAPE. 6 3 % of our graduates are actively employed in the 9 7 % of our graduates creative industry. A find regular employment in further 6% are employed the creative industry and fulltime in the broader broader economy, are self- economy bringing the employed or futhering their studies. employment rate of graduates to 6 9 % . Magnet has been instrumental in facillitating 5 6 % of the graduates access to the University of shared their skills, Cape Town for 3 2 first teaching school learners generation university and young adults in attendees. 17 have community centres, high graduated, 3 with post- schools, tertiary graduate qualifications; and institutions, and 11 are still studying. professional theatres. TEL: +27 21 448 3436 FAX: +27 86 667 3436 EMAIL: [email protected] WEB: www.magnettheatre.co.za 26 3% graduates from the youth 3% 3 % 3 % S development programmes U e l n f e - e m have furthered their studies at m p p l o l o y other tertiary institutions such y e d e as Rhodes University, UNISA, d CPUT, Waterfront Theatre 28% Fulltime 28% students School and others. 66% Employed 1 8 graduates are currently involved in community drama groups. -
Study-Guide Trent Arterberry • Actions Speak Louder
Study-Guide Trent Arterberry • Actions Speak Louder make good choices in life. Mime is an authentic, immediate Synopsis of Program Actions Speak Louder i n t r o d u c e s and unique experience of live the- students to the communicative and atre, which teaches social skills and Designed for secondary audiences, expressive art form of mime, and the creates community. It stimulates Actions Speak Louder uses modern potential of the human body. concentration, imagination and scenarios to examine how our own Students will observe how the mime abstract thought. inner resources can help us to make creates characters, environments, the right decisions when con- narratives, and the passage of time Educational Objectives/ fronting challenges like peer pres- through the simple use of body and Responding to Show sure, moral confusion, dangerous s p a c e . drugs and coercive advertising. The educational goals of A c t i o n s Following is a an outline of a sample Trent Arterberry Speak Louder a r e : performance with a brief synopsis of During his 30 year career, Trent each piece. Arterberry has performed for thousands of 1. To introduce mime as an art audiences across North America, Europe f o r m . I n t r o d u c t i o n and Asia. He left pre-med studies at UCLA • What are some of the elements that —Uses mime technique and to study mime, eventually training with the the mime uses to communicate his monologue to illustrate the road renowned French master, Marcel s t o r i e s ? of life, and the many choices we Marceau. -
BAXTER THEATRE Brilliant Impersonations of the Every Monday @ 7Pm - 9Pm
The Next 48hOURS ≈ Entertainment Guide Jackman proves that there is life after ‘Isidingo’ By Peter Tromp world and trying to find a solution to that numbness that now seems to be al- icola Jackman has the kind most a default setting for most people.” of super alert eyes that are In the play, which takes place in a almost hypnotizing. They are land called MinXa, this sense of unease so bright that they give off the is expressed as the great numbing dis- illusionN that she hardly blinks. ease called the Num-shaQ. “As MAfrika What is more is that she likes to goes through the various stories in the maintain eye contact throughout an in- production, she’s also discovering herself terview and is super aware of her sur- and taking the audience on this journey roundings, almost unnervingly so, even along with her,” says Jackman. paying attention to the notes I was The actress deliberately created the scribbling, reading and comprehending production as a family show that would my handwriting upside down when I appeal to ages five and up, because, have trouble deciphering my hieroglyph- as she says, “I didn’t want to lose the ics at the best of times. chance to connect with the kids.” It was obvious to me during our brief Although Jackman is alone on stage time how much she values human con- during the show, great care has been nection and the extent to which she is lavished on the conceptual elements of attuned to her surroundings. ‘MAfrika-kie’, with smell even playing a These are among the qualities that Nicola Jackman factor in the overall design. -
Marcel Marceau, This Book Shows How a Person's Dreams and Bravery Can Be Used for the Greater Good of Humanity During a Time Overrun by Fear
eSource Resources for Teachers and Students © KAR-BEN Publishing, a division of Lerner Publishing Group HC: 978-0-7613-3961-8 This guide may be downloaded for free at www.karben.com. PB:978-0-7613-3962-5 This guide may be used expressly for educational eB: 978-0-7613-7969-0 purposes only, and cannot be sold. Ages 7-11 | Grades 2-5 Please send questions or inquiries to [email protected]. To purchase the book, call 1-800-4KARBEN 241 1st Avenue North, Minneapolis, MN 55401 or visit www.karben.com. Why Teach About the Holocaust? The Holocaust was the systematic and deliberate murder of groups, primarily Jews, disliked by the Nazis in Europe between the years 1933-1945. Hitler and his followers convinced Germany and its allies that the murder of innocent people was necessary to create a New World Order. The study of the Holocaust provides one of the most effective tools to discuss prejudice and cultivate appreciation of diversity. A structured study of the Holocaust provides lessons for an investigation of basic morals and human behavior. Within classroom investigation of the Holocaust, students can realize that the Holocaust was personal, not just an historical event, and they can recognize the importance of democratic values and personal freedoms, as well as the responsibilities of citizenship in the world. How to Use This Guide As younger students learn about the Holocaust, it can be difficult for them to understand the danger and how a person's dreams are used during tragedy. Using the life of Marcel Marceau, this book shows how a person's dreams and bravery can be used for the greater good of humanity during a time overrun by fear. -
The Routledge Companion to Jacques Lecoq Mime, 'Mimes' And
This article was downloaded by: 10.3.98.104 On: 02 Oct 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK The Routledge Companion to Jacques Lecoq Mark Evans, Rick Kemp Mime, ‘mimes’ and miming Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315745251.ch2 Vivian Appler Published online on: 18 Aug 2016 How to cite :- Vivian Appler. 18 Aug 2016, Mime, ‘mimes’ and miming from: The Routledge Companion to Jacques Lecoq Routledge Accessed on: 02 Oct 2021 https://www.routledgehandbooks.com/doi/10.4324/9781315745251.ch2 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 2 MIME, ‘MIMES’ AND MIMING Vivian Appler At the height of the Nazi occupation of Paris, Marcel Carné (1906–96) raised a ghost. His 1945 film,Les Enfants du Paradis (Children of Paradise),1 reconstructs the mid-nineteenth cen- tury Boulevard du Temple (Boulevard of Crime) featuring the French pantomime popularized by Jean-Gaspard Deburau (1796–1846) at le Théâtre des Funambules (the Theatre of Tight- ropes). -
BODY and MOVEMENT – Ponders About Physicality in Theatre
Bachelor’s thesis Performing arts | Theatre NESTAS12TE 2016 Tuulia Lindholm BODY AND MOVEMENT – ponders about physicality in theatre BACHELOR’S THESIS | ABSTRACT TURKU UNIVERSITY OF APPLIED SCIENCES Performing arts | Theatre 2016 | 30 Ari Ahlholm Tuulia Lindholm BODY AND MOVEMENT • ponders about physicality in theatre This thesis is a study about human body, gestures and movements. Especially I'm interested in how we use our body to create expressions in performing arts and in physical theatre. The starting point to this was to discover my own interest in movements and physicality as a performer -how much do we express ourselves through body language? The study will start from the physical body and how gestures and movements grow into us through the environment. I will also present some basic movement studies made by Jacques Lecoq. From the movement study I will move to physicality in theatre and to physical theatre. In the end I will make a small presentation of four theatre traditions which can be called physical theatre; mime, mask, clown and bouffon. The most relevant source materials include my own learning journal (2014-2015) and books from Jacques Lecoq; Theatre of Movement and Gesture (1987) and The Moving Body (1997), Rudolf Laban; The Mastery of Movement (1980) and Helen Thomas; Dance, Gender and Culture (1993). KEYWORDS: [Avainsanat] performing arts, movement, physical theatre, mime, mask, clown, bouffon CONTENT 1 INTRODUCTION 4 2 THE PHYSICAL BODY 5 2.1 MUSCLES AND MOVEMENT 5 2.2 GESTURES AND MOVEMENTS 6 2.3 STUDY OF MOVEMENT 6 3 MOVEMENT IN THEATRE 11 3.1 SMALL INTRODUCTION TO PHYSICAL THEATRE 11 3.2 SOME EXAMPLES OF THEATRE TRADITIONS WHICH CAN BE DESCRIBED AS PHYSICAL THEATRE 12 3.2.1 MIME 13 3.2.2 MASK 15 3.2.3 CLOWN 23 3.2.4 BOUFFON 25 4 CONCLUSION 27 REFERENCES 28 4 1 INTRODUCTION My thesis Body and Movement -ponders about physicality in theatre is a study about movement and physical expressions we use in performing arts.