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Mime-Marceau.Pdf LE POUI VVOIIR DUGGESTE Avec un hommage au Mime Marcel Marceau Salle de l’Aubette 31 Place Kléber, 67000 Strasbourg EXPOSITION du 1er au 26 mars 2017 du lundi au dimanche 11h00-19h00 Entrée gratuite www.unmuseepourlemime.com EXPOSITION Il n'y a pas que les espaces verts LE POUI VVOIIR Qu'il faut protéger... Les espaces vides aussi ! DUGGESTE Parce que vous avez des artistes, Les mimes en particulier, “Ils évoquent des figures... Ils tracent des lignes comme ça... Avec la révolution industrielle, un Dans l'espace... monde s’estompe, les notions de Et une fois que c'est terminé, temps, d’espace, de communication Ils saluent et ils sortent ! sont modifiées. Le mime moderne apparaît, interroge l’homme sur son Et ils laissent toutes ces formes rapport au corps, à l’autre et l’interpelle Fictives flotter dans l'atmosphère ! sur sa place dans la société. Raymond Devos Plusieurs personnalités illustrent ce re- nouveau qui influence toujours les courants artistiques des arts du mime et du geste aujourd’hui. Qui sont-ils ? Quels messages nous ont-ils laissés ? Comment les jeunes ” générations s’en emparent-elles ? Sommaire Et dans notre quotidien, comment utiliser le pouvoir du geste ? L’exposition : “Le pouvoir du geste” 3 Dans toute communication, trois Renseignements pratiques 4 éléments sont importants : La parole, son expression et la Parcours de l’exposition 5 gestuelle. La position du corps, l’utilisation des Documents inédits, pièces uniques. Iconographie 12 bras et des mains, l’orientation du re- gard…, sont les composantes d’un Le Mime Marcel Marceau et Strasbourg 14 langage efficace pour mieux se faire comprendre. Commissariat et direction artistique 18 Pour la première fois, une exposition Scénographie et graphisme consacre une telle place à l’art du mime et au pouvoir du geste. Autour de l’exposition 19 Cette exposition met en lumière la richesse de ce patrimoine trop Partenaires longtemps ignoré, dont l’influence se retrouve aussi bien au cinéma, dans la danse, la musique, les arts plastiques, la publicité… 3 RENSEIGNEMENTS PARCOURS PRATIQUES DE L’EXPOSITION Site internet : www.unmuseepourlemime.com Dates du 1er au 26 mars 2017 Lieu Salle de l’Aubette, 31 Place Kléber à Strasbourg. Accès en tram A (arrêt “Homme de fer”) Parking : Kléber et autres parkings du centre-ville Le parcours de l’exposition est composé de 8 modules. Horaires Du lundi au dimanche 11hoo-19hoo Pas de fermeture hebdomadaire L’OUVERTURE L’ouverture de l’exposition plonge le visiteur Entrée gratuite dans le Strasbourg des années 20 où Marcel Marceau naît le 22 mars 1923. Ce module aborde l’enfance de Marcel Man- gel, (dit Marceau), une famille d’origine juive installée à Strasbourg, elle rappelle le milieu dans lequel il a grandi à Strasbourg et ses an- nées au lycée Fustel de Coulanges. La découverte du cinéma muet de Charlie Chaplin et du personnage “Charlot” va mar- quer à jamais la vie du jeune Mangel qui, dès l’âge de huit ans, crée sa première troupe de théâtre dans la colonie de vacances de sa tante Mina à Wildersbach. Ce sont les vacances dans les Vosges, l’inno- cence et l’insouciance de l’enfance, “les eaux mêlées”, avant que la guerre n’éclate. LA SCENE Commissaire de l’exposition Au centre de la salle est placée la scène d’un Valérie Bochenek petit théâtre. [email protected] Les visiteurs sont invités à regarder un mime Scénographie interpréter une scène. Frédéric Beauclair Cependant, cette séquence gestuelle n’est Graphisme pas réelle, mais virtuelle, avec un hologramme Stéphane Bouelle en “3D”. Régisseur général Paul Houron Les procédés techniques utilisés pour cette séquence en “3D” sont inédits et originaux ASSOCIATION sur la scène d’un théâtre. UN MUSéE POUR LE MIME 253, rue Saint-Denis Nouvelles technologies et mime se rencon- 75002 Paris trent pour restituer la magie du geste et la poésie du silence au cœur de l’exposition. [email protected] 5 PARCOURS DE L’EXPOSITION Une brève histoire du Mime depuis la Grèce En 1944, le jeune Marcel Marceau intègre la Antique nous rappelle les dates clefs, pour classe d’Etienne Decroux auprès de Maximi- arriver au XIXe siècle en France avec le Pierrot lien Decroux Eliane Guyon, notamment. romantique, créé par Jean Gaspard Deburau. Grâce au fond d’archives Etienne Bertrand Weill, le visiteur est le témoin privilégié des évolutions historiques de l’art du mime. LA SCIENCE DU GESTE Les photos d’Etienne Bertrand Weill tradui- Le Pierrot de Deburau n’est plus une espèce sent l’ébullition de cette période de créations de niais comme dans la Commedia dell’ Arte, qui verra la genèse de pièces majeures mais un personnage très populaire, dont comme ”Les arbres”, “L’usine”, où l’acteur- l’expression gestuelle silencieuse fascine et mime n’est pas le sujet principal de la narra- fait les grandes heures du théâtre des Funam- tion, au service d’un métier, mais un corps qui bules. peut aussi incarner la matière qu’il travaille, la Le film de Marcel Carné, “Les Enfants du machine : il s’affranchit des notions de temps Paradis”, réalisé en 1945 d’après un scénario et d’espace. de Jacques Prévert, retrace la vie de Jean- Gaspard Deburau. LA CREATION DU PERSONNAGE DE BIP “La pantomime blanche” continue avec son La construction du personnage de “BIP”, in- fils Charles Deburau, puis avec les célèbres venté par Marcel Marceau, ne laisse rien au mimes, Séverin, Farina, Rouffe, Legrand… et hasard. Georges Wague, le professeur de mime de Ses caractéristiques principales sont pré- Colette. sentes dès sa création au Théâtre de Poche Avec la révolution industrielle, le cinéma bur- de Paris, le 22 mars 1947, mais son image va lesque triomphe aux Etats-Unis avec Charlie progressivement se métamorphoser. Chaplin, Laurel et Hardy, Buster Keaton…puis Ce module retrace l’évolution du personnage en France, avec Jacques Tati, Pierre Etaix… “Bip” à travers la transformation de son ma- Dans le Paris d’après guerre, grâce à Jacques quillage, de ses costumes et aussi de sa Copeau, Suzanne Ping et l’école du Vieux Co- dramaturgie. BIP a contribué à la renommée lombier, des hommes et des femmes posent internationale du mime Marcel Marceau. Par les fondements du mime moderne. la vision du décorateur Jacques Noël, le Etienne Decroux et Jean-Louis Barrault éta- costume de “Bip” incarne la synthèse d’un blissent, dès 1932, les premiers fondamen- héritage culturel théâtral et le renouveau d’un taux du mime corporel. Dans “Réflexions sur personnage témoin de son temps. le théâtre”, Jean-Louis Barrault raconte : “A Le costume accompagne l’évolution esthé- tour de rôle, l’un exécutait devant l’autre, qui tique et dramaturgique des créations. critiquait.…Decroux, par son sens analytique Le fond de l’association Un Musée pour le même et une intelligence créatrice exception- Mime permet de présenter une collection nelle, savait fixer les variations improvisées de costumes de scène, accessoires, objets, que j’exécutais…nous mimes trois semaines affiches, documents, dessins…, ayant ap- à mettre au point la “marche sur place”.” partenu au Mime Marcel Marceau. 7 L’histoire enseigne que les artistes sont PARCOURS les premiers à subir la censure politique, DE L’EXPOSITION à être interdits d’exercer librement leur métier. Au nom de la défense de l’objectivité, les régimes totalitaires imposent leur vérité. LA PUISSANCE POLITIQUE DU GESTE Sous Louis XIV, les comédiens sont interdits Les procédés techniques utilisés pour cette de parole, afin de ne pas concurrencer la séquence en “3D” sont inédits et originaux Comédie Française et les comédiens italiens. sur la scène d’un théâtre. L’expression du corps leur permet de trans- gresser l’interdit. Nouvelles technologies et mime se rencon- trent pour restituer la magie du geste et la Avec la Révolution, la liberté de parole est re- poésie du silence au cœur de l’exposition. donnée, et paradoxalement, certains vont choisir le silence pour s’exprimer. INFLUENCES ET HERITAGES Au lendemain de la seconde guerre, certaines Une autre partie de l’exposition est consacrée autorités politiques autorisent le mime aux influences et aux héritages que Marceau, Marceau à présenter ses “pantomimes Decroux, Barrault, Lecoq ont inspirés. silencieuses” dans leur pays, convaincus Le pouvoir du geste est utilisé par les commu- qu’il n’y a aucun danger face à ces pouvoirs nicants et les publicitaires, le langage non autoritaires, que ces “petites histoires” sont verbal est enseigné dans les écoles de com- juste distrayantes, divertissantes… merce comme instrument d’efficacité… Le mime est partout... Qui sait : Pourtant le public perçoit le message et comprend ce “cri du silence” pour la liberté, . que l’art du Butô fut inspiré notamment la dignité de l’homme contre l’injustice. par la venue du Mime Marcel Marceau au Japon en 1955, Par la rupture des formes, l’intensité de l’éner- gie poussée à ses limites, le geste peut deve- . que David Bowie fut mime, nir violent, source de conflit, provoquer le que “le Moonwalk” de Michael Jackson sentiment d’agression. fut inspiré par la marche sur place, Mais le geste peut aussi traduire l’espoir de paix et d’harmonie de chaque homme, dans . qu’une partie des éléments constitutifs cet élan vibrant, fragile, parfois brisé mais tou- du HIP HOP proviennent directement jours renaissant. du mime corporel d’E. Decroux et de la poésie du geste de M. Marceau. L’INTERNATIONALISME DE L’ART DU GESTE Tant d’exemples qui sont présentés ici et nous Les affiches du monde entier des repré- amènent à découvrir la diversité des arts du sentations du mime Marceau et de sa troupe Mime et du Geste aujourd’hui dans le monde.
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