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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
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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. Downloaded By: 10.3.98.104 At: 22:51 02 Oct 2021; For: 9781315745251, chapter2, 10.4324/9781315745251.ch2 c. 1600s c. 1550 1439 240 B.C.E. 300 B.C.E. 534 B.C.E. 581 B.C.E. Date 1945 film, At theheightofNazioccupationParis,MarcelCarné(1906–96)raisedaghost.His order tohistoricizetheemphasisthatLecoqplacedonlejeu inhisownteaching. present. ThischaptercomparesvariousmimelineagesrepresentedinLesEnfantsduParadis his owningenuityandthusextendedthelegacyofarchetypal‘Frenchmime’into century, what Deburauwasforthenineteenth:heinfusedanexistingperformancegenrewith oftheatricalinnovation.Lecoqbecame,forthelatterhalftwentieth part ofthatperiod and Étienne Decroux (1898–1991). Jacques Lecoq, although he did not act in the film, was a mental twentieth-centurymimesfeaturedinit–particularlyJean-LouisBarrault(1910–94) bytheexperi- Paradis isacognitive-historicalpalimpsestofParisianmimelineageembodied Deburau’s signaturepantomimeblanche(white-facedpantomime)onscreen.LesEnfantsdu broadened thescopeoftwentieth-centuryrenaissancephysicaltheatrebyresurrecting ropes). By1945,mimeexperimentswerealreadyafootamongtheParisianavant-garde.Carné by Jean-GaspardDeburau(1796–1846)atleThéâtredesFunambules(theTheatreofTight- tury Boulevard duTemple (BoulevardofCrime)featuringtheFrenchpantomimepopularized MIME, ‘MIMES’ AND MIMING MIME, ‘MIMES’AND Les Enfants du Paradis Children ( of Paradise), A contextual history of European mime of A contextual history Dumb showsappearinEuropean dramatic plays. ‘Commedia dell’artewasborn,some timearoundthemiddleofsixteenth Gest ofRobynHodewasperhapsperformedinamimetic style(Hoffman,2005). Pantomime isbornwhenLiviusAndronicusloseshisvoiceandcarries on Atellan FarceappearsinsouthernItaly. Thespis usesamaskinhisfirstcompetitionattheFestivalDionysia. Satirical DorianmimeisfirstperformedinMegara. Mime Event then heldifalivingistobemade’ (Rudlin, 1994). century, inthemarketplacewhereacrowdhastobeattracted,interested and through movementaccompaniedtomusic(Lust,2000). Vivian Appler 2 19 1 reconstructs the mid-nineteenth cen- 2 (Continued) Downloaded By: 10.3.98.104 At: 22:51 02 Oct 2021; For: 9781315745251, chapter2, 10.4324/9781315745251.ch2 Italienne. become aregularinFrenchpantomimesduringthelateseventeenth centuryattheComédie the Parisianstageduringlatenineteenthcenturyand intothetwentieth.Pierrothad work intheearlytwentiethcentury. ThestockcommediacharacterPierrotwaslivingon theatre traditions.Commediawasnotanentirelydeadart formwhenCopeaubeganhis Dasté, AmletoSartori,andotherswhowereinterestedinexperimenting withpastphysical success without the influence ofteachers such as Jacques Copeau, CharlesDullin, Jean and taughtbyÉtienneDecrouxJean-LouisBarrault. (and practicedbyMarcelMarceauinthetwentiethcentury),andmimecorporeldeveloped contemporary tohistheatricalcomingofage:thepantomimeblanche,popularizedbyDeburau commedia, andhispedagogythusstandsoutagainsttwootherdistinctcategoriesofmime literally translatesfromFrenchas‘play’.Lecoqinfusedhisapproachtotheatrecreationwith atrical rootashedevelopedhisownpedagogythatwouldcometoprioritizelejeu,which most impressedbycommedia’s playfulandimprovisatoryenergy. He strovetotapthatthe- onstrate howLecoq’s pedagogydiffersfromothersignificantmimesofhisgeneration. nent oftragedy. Earlytwentieth-centuryEuropeanmimeschoolsareconsideredhere todem- traditions sincebeforeAristotle(384–322B.C.E.)identifiedmimesisasanessentialcompo- history. TheabovetimelineillustratesthatmimehasbeenapartofEuropeanperformance popular theatricalvenueforParis’s workingclass,aphenomenonthat didnotgounnoticed street fullofsmallcommercial theatres.ThetheatresonLeBoulevardduTemple becamea in 1760,andsoonwhathad been aseasonalfairgroundontheoutskirtsofParisbecame a Boulevard duTemple. Jean-BaptisteNicoletbegan alittletheatreonLeBoulevardduTemple aesthetic form. French tradition,evenasitsfeaturedmimestars,Decroux andBarrault,alteredmime’s 1913 Late 1800s–early 1900s Colonial expos introduce Western Colonialexposintroduce artiststoAsianphysicaltheatre Late 1800s–early1900s 1880s–1920s 1816 1761 1720s c. 1674 1658 1760 Date in Western popularculture. throughout thenineteenthcentury. Indeed,Pierrotcontinuestobeaubiquitouspresence early nineteenthcentury, andPierrotcontinuedtobearegularinParisianpantomimes Neither Lecoqnorhismid-twentieth-centurycontemporarieswouldhavehadmuch The revivaloftheCommediadell’artewascentraltoLecoq’s creativeprocess.Lecoqwas French mimeemergedontotheearlytwentieth-centuryParisianstagefromarich,global The historyofPierrotasapopular FrenchiconcannotbeseparatedfromthehistoryofLe
70 Harlequin-basedpantomimesarealltherageinLondon. & 1730s 4 Thecharacter’s popularitypeakedwithDeburau’s ofitduringthe embodiment Copeau formsleThéâtreduVieux-Colombier. A seriesofwomenstarasPierrot,themostfamouswhomwasSarah Le ThéâtredesFunambulesisfounded. l’AmourdelletreMelarance. Carlo Gozziproduces Jean-Baptiste NicoletbuildsapermanentstructureonLeBoulevarddu The GherardifamilyestablishestheComédie-Italienatl’Hôtelde Molière incorporatestheCommediadell’arteintoFrenchtheatre. Mime Event traditions. Bernhardt inPierrotassassindesafemme(Pedneault-Deslauriers,2011). Temple. Bourgogne. 5 Carné’s filmparticipatesintheproliferation ofthispopular 3 Vivian Appler 20 Downloaded By: 10.3.98.104 At: 22:51 02 Oct 2021; For: 9781315745251, chapter2, 10.4324/9781315745251.ch2 The actorsusethephrase‘jouerlecomédie’,whichliterallytranslatesas,‘toplaycomedy’. Directeur: LeMaître: LeMaître: Boulevard’s gagrules: Directeur: dancers isfoundasthecamerascans Les Funambulesisfeaturedwitha tightrope performanceonthe busy street. A acts torevealacrowdedstreetfullofoutdoorexhibitionsandrowdyspectator-participants. Brasseur) has gone backstage at ofFrance’shis ownvolatileperiod history. Inthefollowingscene,FrédérickLeMaître(Pierre Paris, andCarné’s socialcommentcannotbeignored. Another sceneclosetothebeginningoffilmdramatizesfearfulatmosphere1828 were strictlyenforcedonLeBoulevardandfinesimposedactorsforeachvocalbreach. resurrection ofthepoliticalclimatethatpermeatedtheatreduring1828,whengaglaws barbells, amonkeyonstilts,merry-go-round.ThestreetscenerevivalisimplicittoCarné’s popular audience.Theycheer asPierrot,aherooftheFrenchworkingclass,takesstage. –theupperbalcony,au paradis’,tothegods which iscrowdedwitharaucousandenraptured the centerofLecoq’s pedagogy. Afterhisrant,thedirectorturnsLemaître’s gaze,‘auparadis, To play comedy isaphrasethatspecificallyappliestothedevelopmentofFrenchmime.It of its risqué, acrobatic, pantomimic glory. as afreemaninoldParis.TheopeningsceneofLesEnfantsrevivesLeBoulevard1828all rault) caughtbetweensellingouttothepowersthatbeversusfacingdifficultiesofliving throughout thefilmasitfeaturesBaptiste(basedonhistoricalDeburau,playedbyBar performances tophysicalandnon-textualgenres. from regimetoregime.ThislicensureeventuallyresultedintherestrictionofLeBoulevard’s and couldnotperform,thusbeginningalonghistoryoflicensingconflictsthatcarriedover acquired control over whatmaterialsthelittle theatres on the Boulevarddu Temple could by state-sponsored theatres. This led to a crisis: in 1784 the (state-sponsored) appearing, ‘onstagedrunkandswearing’. by thedirector(MarcelPérès),whoisinmiddleofarantabouthavingtofineanactorfor rizes that,‘Decrouxcalled[Deburau’s styleofmime]“objective”or “indicative”mime,as have thoroughlyinvestigated thedifferencebetweentwoforms.EdwardNyesumma - whilst alsoaddinghisownmimecorporel tothehistoryofFrenchmime. Otherscholars Carné minesthehistorical popularity of Pierrot in order to unifyParisianaudiencesduring Barrault’s interpretation of Deburau’s Pierrot breathed new life into The historicized theatrical metaphor for life in Parisunderthe Vichy government runs
I I our hands. Act! Y And youknowwhy? there, inthegods! in real life! And the audience.Sure,they’repoor, butthey’re pure gold.Lookup in reallife!Andthen–wham![hekicks]thekick, –theslapsticklike bules isfulloflife,movement!Extravaganzas!Appearances, disappearances,like pieces, dustytragediesanddeclaimingmummieswhonevermove. ButtheFunam- have to closetheirgreat,nobletheaters!Theirpublicisboreddeathbymuseum
can dothat. want toact.(Jeveuxjouerlecomédie) ou havethewronghouse.We’re notallowedtoacthere.We walkon Les Funambules to inquire after an acting job. They bully us. Why? They fear us. If we put on plays they’d They bullyus.Why? They fear us. If weputonplaysthey’d Mime, ‘mimes’ andmiming Le Boulevardforotherdiversions:astrongmanlifting 9 LeMaîtretriggersthedirector’s complaintsaboutLe 7 The shot pans across an array of physical theatre 21 6 (Les EnfantsduParadis,1945) pantomime blanche Opéra-Comique 8 He is greeted
kick-line of 10 -
Downloaded By: 10.3.98.104 At: 22:51 02 Oct 2021; For: 9781315745251, chapter2, 10.4324/9781315745251.ch2 (1923–2007) andhisstudent,Dimitri(b.1935). mime corporellooksquitedifferentthanthepantomimeblanchepopularizedbyMarcelMarceau apart from,thepedagogicalaction. certain degree, since her living-statue performance is staged as simultaneously central to, yet Garance (Arletty)disruptsthismale-dominatedpedagogyas itisrepresentedinthefilmtoa old formofmime(pantomimeblanche)re-inventedforthetwentiethcenturyas mime corporel. Barrault trainedwithDecroux.Thefather-son relationshipalsoresonateswiththeideaof off-camera relationship; they met at Dullin’s experimental workshops during the 1930s where rault’s becauseofhisstatusasBaptiste’s father. Thereissomeresonanceherewiththeactors’ performed inCarné’s film.Decroux’s character, Anselme,ishierarchicallysuperiortoBar Decroux appearsasafigureofauthorityoverBarraultisestablished throughtherelationships cept ofthecharactertobeplayed’(McConachie,2013).Thescenographicblendinwhich role: ‘whenanactorplaysacharacter, sheisabletoblendaconceptofherselfwithcon- suggest that,inperformance,anactor’s fictionalroleblendswiththeactorwhoisplayingthat McConachie borrowsGillesFauconnierandMarkTurner’s theoryofconceptualblendingto sive face,heconveyswhatreally happenedtothedelightedcrowdandbefuddledpolice. Baptiste intervenesintoGarance’s arrest;throughpantomimicsleight ofhandandexpres- and witnessesthetheftofapocket watch–acrimeforwhichGaranceiswronglyaccused. While Anselmeadvertisesthe theatre’s spectacledu jour, Baptistesits silently on theplatform as Pierrot. Garance arrives and waitsto be entertained along with the rest of thecrowd. platform stage outside of the from thebody’s center. (1879–1958), whosechoreographyalsorelieduponmovementindifferentplanesextending dance of Rudolf Laban ple, and sounds. Mime corporel is evocative and resembles the modern masked face.Pantomimeblancheoftenworkstoindicateimaginaryandinvisibleobjects,peo- withaneutral,bare,or sparse. Mimesofthisgenrecustomarilyperforminasimplebodysuit come tominduponhearingtheword‘mime’.Decroux’s mimecorporelismuchmoreapparently white with highlights around the eyes and mouth – and animated handsare probably what Pierrot (Martin,1978).Formost,Marceau’s trademarkstripedshirt,expressiveface–painted pany andattributespartoftheinspirationforhisbest-knowncharacter, Bip,toDeburau’s poreal Mime movements begin in the deepest parts of the body’ (Leabhart,2007). poreal Mimemovementsbegininthedeepestpartsofbody’ evocation” distinguished from“subjective”mime,which,accordingtoDecroux,“dependsonindirect film’s release,thetwomimespartedduetoaestheticdifferences(Fleshman,2012). rault andDecroux]togetherinthemindoftheatre’,despitefactthat,shortlyafter Decroux’s RobertFleshmanclaimsthatthefilm,‘holds[Bar filmicallyimmortalizedbodies. tation. Barrault’s re-enactmentisonlyonelevelofmanycontainedwithinBarrault’s and re-presents Deburau’s 1828Pierrotwithinacontextoftwentieth-centurymimeexperimen- act.Barrault in thefilm,makingperformanceofmimingitselfaculturallyre-productive with Les EnfantscapturesDecrouxandBarraultatapointintimewhentheywereexperimenting the bo ence betweenpantomimeandcorporealmime:‘Whereasprimarilyemphasizes The pedagogically significant scene that introduces thesekeyplayers takes placeona The pedagogicallysignificantscenethatintroduces . The two forms are blended in the two actors’ bodies pantomime blancheandmimecorporel.Thetwoformsareblendedintheactors’bodies dy’s extremitiesandsurfaceswhiledepictingcharmingentertainingvignettes,Cor
’ (Nye,2014).DecrouxexpertandmimeThomasLeabhartsumsupthediffer Re-enactment, Les Enfants du Paradis, andLecoq building. Anselme introduces his son, who is dressed Funambules building. Anselme introduces 14 Vivian Appler 22 12 MarceauperformedwithBarrault’s com- 11 Decroux’s 13 Bruce 15 - - - -
Downloaded By: 10.3.98.104 At: 22:51 02 Oct 2021; For: 9781315745251, chapter2, 10.4324/9781315745251.ch2 to moveforwards’. iel Stein, much of theearlytwentieth-centuryexperimentationin Paris ‘moved backwards 1913, andhissubsequentschool. pedagogical lineageto Jacques Copeau’s theatre, le ThéâtreduVieux-Colombier, founded in able facialandhandgesturestohisre-presentationofmimecorporel’s antecedent. porel (andoftenhistrunkisolationsarealsoidentifiable),butheaddsDeburau’s unmistak- identifiable inhisperformanceasAnselme.Barrault,ontheotherhand,usesmimecor the nineteenthcentury. Inthefilm,Decroux’s trademarkcorporealisolationsaresometimes ofthekindmimethatwaspopularinFranceduringand isnotanaccuratereproduction of mimeamonggeneralaudiences.Barrault’s revivalofDeburau’s pantomimeblanchebothis with Deburau’s pantomimeblancheandcreatesaculturalconfusionofdifferentsub-genres has cometosurroundtheterms‘mime’and‘pantomime’.Barraultblendsmimecorporel tomime characters(andpantomimicactors)istherootofapersistentimprecisionthat of mimecorporel. rescues Baptiste revealsthe truth through the artificeof thepantomime blanche. Barrault,the actor, energy towards the development of new theatre. emerged. Lecoqbelievedthatold(andancient)physicaltheatretraditionscanprovidevital Carné’s filmicParisisacrossroadsofphysicaltheatrestylesoutwhichLecoq’s pedagogy as 1930s, CharlesDullin,alsoamemberofCopeau’s company, began holding workshopsknown regales thatafterhefirstsaw DecrouxperformattheSalleIéna,hewasinspiredtoreplicate during hisearlydaysofteaching atPaduaUniversity. In aninterviewwithJeanPerret,Lecoq 2003: 53).Lecoq’s discoverythat,forhim,mimemustbemorethanvirtuosic mimicry, occurs about identifyingkeyprinciples soastoreinventthemforthecontemporaryworld’ (Murray, work. Physicaltheatrescholar SimonMurraystates,‘[Lecoq’s] workoncommedia. act oftheatre. eschew text.ForLecoq,Commediaofferedaspiritoftruth inplayessentialtothecreative self increasinglyinterestedinnon-verbalapplicationsof physical theatre,Lecoqdidnot be seenchieflybetweenthepedagogiesofDecrouxandLecoq; whereDecrouxfoundhim- physicality was important to these early twentieth-century experimenters. Differences can through theirparticipationinthelegacyofCommedia dell’arte. Commedia’s inherent essary tounderstandLecoq’s approachto mime.Thesefourmimepedagoguesarerelated Comédiens deGrenoblewasLecoq’s first exposuretoCommedia. Dasté (Copeau’s son-in-lawandformer studentandcompanymemberoflesCopiaus).Les daughter), andClaudeMartin.LecoqjoinedLesComédiensdeGrenoble,directedbyJean a schoolfoundedbyBarraultwithRogerBlin,AndréClavé,Marie-HélèneDasté(Copeau’s 1947, Lecoq began to teach physical expression at l’Education par le Jeu Dramatique in Paris, Culture around1945,andtherehelearnedmimetechniquebasedonDullin’s experiments.In duced LecoqtoArtaudandBarrault(Lecoq,2001).joinedtheAssociationTravail et met Jean-Marie Conty in 1941 while attending ‘a college of physical education’; Conty intro- l’Atelier The mixture of twentieth-century actors’ bodies withnineteenth-centuryhistoricalpan- The mixtureoftwentieth-centuryactors’bodies Lecoq incorporatesmimeasoneofmanytoolsavailableto the creativeactormakingnew Deburau, Decroux,andBarraultconstituteaconceptual-historical backdropthatisnec- pantomime blanchefromculturalforgetfulnessbyrestagingitthroughhisapplication 19 whereDecroux,Barrault,Marceau,andArtaudtrainedperformed.Lecoq 17 Mostphysicaltheatremastersofthetwentiethcenturycantracetheir History’s impacton Lecoq’s pedagogy 18 Mime, ‘mimes’ andmiming DecrouxwasoneofCopeau’s earlieststudents.Duringthe 23 16 To borrow the language of mime Dan-
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Downloaded By: 10.3.98.104 At: 22:51 02 Oct 2021; For: 9781315745251, chapter2, 10.4324/9781315745251.ch2 physical techniquearoundeverydayactions. swimming –derivesfromLieutenantGeorgesHébert’s (1875–1957)techniqueofcentering pushing, climbing,walking,running,jumping,lifting,carrying, attacking,defending,and Movement techniquebecomesatoolforlejeu.Lecoq’s emphasisonactionmime– fis sur le mime d’alors; je compris que le mime isolé, seul, n’allait nulle part’ (Lecoq, 1987). Lecoq continues,‘Cettephraserestapourmoicommeunsymboledelapriseconsciencequeje Agostino Cantarellooffersthecriticism,‘Chebello!Bello!Madoveva?’(Lecoq,1987). the ‘walkingonspot’routineforhiscolleaguesinPadua(Lecoq,1987).Italianactor ered whileworkingwithDasté’s ComédiensdeGrenoble: approach surfacesinhisdescriptionofthereverseundulationmovement,whichhediscov- cal roots,anddevelopanextra-dailyawarenessthroughpuremovement.Lecoq’s holistic young actorsmightdiscoverconnectionsamongphysicaltruthsofdailylifeandtheatri- movement exercisesthatreflectLecoq’s earlyexperiments.Exercisesaredesignedsothat freedom totheplayer’(Lecoq,2001:71). of alltheseacrobaticmovements,fallsandjumps,hasinrealityasingleaim:togivegreater essential becauseitincreasestheactor-creator’s paletteofchoices:‘Thetechnical mastery is for Lecoq,constitutesonecomponentofaholistictheatrepractice.Anexpressivebody tre isagamewhichmerelyextendsthisaction. someone else and to summon illusory presences constitutes the very body oftheatre. someone elseandtosummonillusorypresencesconstitutestheverybody commedia’s essentialspiritofplay:‘Mimeiscentraltotheatre:beingableplayat poraries. Lecoqexplainshisparticularpedagogicalmixtureof‘openmime’techniqueand and playisessentialforhisowndevelopmentofmeaningfulperformance. isimportant,thesparkofinvention discovers thenthatwhilearticulatemasteryofthebody of histheatreschool. Lecoq’s legacysurvivesthrough alivingpedagogythatembraces the them in the pedagogical journey the usefulness of an array of mime genres by re-introducing with elementsofmimecorporel aswellMarceau’s twentieth-centuryBip.Lecoqmaximized twentieth-century experiments inanancientform.Deburau’s pantomimeblanchenowblends play.share inevocative,embodied in ordertocreatenotjustalanguagebasedongesture,but aninvitationtotheaudience mimetic exercisesthatincrementallyinvolvemoreofthebody, ensemble,andenvironment genres thatmayinvolvetext.Lecoqincorporatespantomimeblanche earlyinaprogressionof ment andgesturegivesstudentsacommonphysicalvocabulary whilealsopreparingforother figurative mime,cartoonmimages,andstoryteller mime. Thisfoundationinmove- Gestural Languages is a second-year unit in which students explore The areas of exploration set for first-year students at Lecoq’s school in Paris incorporate Yet, Lecoq’s pedagogyderivesfromthesamerigorous,athleticrootsasthatofhiscontem- The archetypeofthe‘French mime’hasenduredinthetwenty-firstcenturybecause of that webecome,oncemore,likeafoetus. from theverticalaxis.We fallbackintoretirement.Finallyoldagehunchesusupso mature adult.Theautumnoflife,ordigestivephase,makesusinclinebackwards upright,takesusbacktotheneutralmask, vertical position,withthebody orthefigureofHarlequin.The head thrustforward,suggestsanimageofchildhood infancy, maturity, adulthood, inforwardpositions,backarched, oldage.Thebody course ofthisphysicalprogression,toexperiencepassingthroughthedifferentages: I askthestudentstoadoptthesepositionsoneafterotherandthen,in Vivian Appler 22 24
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. indifferentways’(Lecoq,2001:22).Mime, (Lecoq, 2001:74) pantomime blanche,
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. 21
pulling, . Thea- Lecoq 20
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formalisms esthétiques;2.A (Lecoq, 1987:113). words, ‘Écoutez,c’esttrèssimpleetclair: create their own branches on the tree that has its roots in the Commedia dell’arte. In Lecoq’s history ofphysicaltheatreandempowerspractitionerstoexperiment,play, andto
9 8 7 6 5 4 3 2 1
of SportsonJacques Lecoq’s Actor Training’. The influenceofsportonLecoq’ isolated mime,onitsown,wasnot goinganywhere.’ ‘This sentencestayswithmeasa symbol oftherealizationthatI ‘How beautiful!HowBut, whereareyougoing?’ Later Vieux-Colombier. cial issueofMimeJournal,‘JacquesCopeau’s SchoolforActors’(1979)isahistoryofl’Écoledu For athoroughbiographyofCopeau,see Stein trainedwithDecrouxinParisfrom1973–1976beforefounding hisownschool. Thomas Leabhart’s ModernandPostmodernMime(1989). From GreekMimestoMarcelMarceauandBeyond(2000),BariRolfe’s MimesonMiming(1981),and sourcesformimehistoriesincludeAnnetteLust’srault, andLecoqareavailableinprint.Good Several biographiesandautobiographicalworksinterviewsabout, by Garance waspreviouslyintro represented A feministhistoryoftwentieth-andtwenty-first-centurymime, also springingfromthepedagogies experiments inmovementandtherapy. Fleshman wasastudentofDecroux’ Marceau andDimitriwereboth,atdifferenttimes,alsostudentsofDecroux. pedagogy. Leabhart trainedwithDecrouxfrom1968–1972andhaswrittenextensivelyonDecroux’ The Englishsubtitlessimplifythetermas‘toact’. Les EnfantsduParadis. the greatdramaticactorsofnineteenthcentury. The historicalLeMaître(1800–1876)gothisstartat to thetopicinhermimeanthology. directorship ofhisschooltowife,Fay, andhisdaughter, Pascale.AnnetteLustdedicatesachapter Haussmann’s reconstructionofParisin1862. The theatreandtherestof Studies 27(1),2005. this upinhisarticle,‘HaussmannandHaussmannisation:TheLegacyforParis’,FrenchHistorical lic planningalsoaffectedthetheatricaltraditionsofLeBoulevardduTemple; DavidP. Jordantakes For amoredetailedaccountofthisperio makeup. Lady (Rudlin, 1994)andTheMythofPierrot(Evans,2015). More aboutthedevelopmentofPierrotcanbefoundin theatre genres–mostnotablyIndonesian Artists suchasGordonCraig,BertoltBrecht,andAntoninArtaudwereexposedtoglobalphysical twenty-first. the EuropeanandAmericantheatricalavant-gardethroughouttwentiethcenturyinto This timelineoutlinessomekeymomentsinthehistoryofphysicalperformancetosuggestahistori cal contextfortheexperimentsofCopeau,Lecoq,andothers. ‘paradis’. InFrenchitiscalled the workingclass.InEnglish,thisareaiscommonlyreferredtoas‘thegods’. The titleintentionallyreferstothetheatre’ , Gaga’s 2013 single‘Applause’,on the ARTPOP album, features Gaga in Pierrotcostume and le Théâtredel'Atelier. in Les Enfants du Paradis, would be a worthwhile undertaking. Lecoq bequeathed the 23
partir delà,lemimeprendlaparole.C’esttout;etc’estaupresent’ duced asalivingstatueonLeBoulevardduTemple . s pedagogyisdiscussedinChapter Boulevard hadbeendemolishedasapartofBaronGeorges-Eugene Mime, ‘mimes’ andmiming s duringthelate1950sandwentontoperformmanyofhisown d ofFrenchtheatrehistory, refertoHemmings (1994).Pub- Jacques Copeau(Evans,2006).BarbaraKuslerLeigh’s spe- wayang traditionsandBeijingOpera–thatinfluenced s upperbalcony, whichwastheseatingareareservedfor Notes 1. J’apporteunmimedéchargédesescodes, 25 Les Funambulesandwentontobecomeoneof Commedia dell’Arte:AnActor’s Handbook
had aboutmime:I
11 ofthisvolume,‘TheInfluence , andwithDecroux,Bar
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