Mime Matters
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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. -
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. -
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. -
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). -
Jacques Lecoq and the Neutral Mask
EMBODYING ENGLISH LANGUAGE: JACQUES LECOQ AND THE NEUTRAL MASK NIKOLE LAUREN PASCETTA A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN EDUCATION YORK UNIVERSITY TORONTO, ONTARIO AUGUST 2015 ©Nikole Pascetta, 2015 ii ABSTRACT My study explores the process of settlement for Newcomer-to-Canada youth (NTCY) who are engaged in English-language learning (ELL) of mainstream education. I propose the inclusion of a modified physical theatre technique to ELL curricula to demonstrate how a body-based supplemental to learning can assist in improving students’ language acquisition and proficiency. This recognizes the embodied aspect of students’ settlement and integration as a necessary first- step in meaning making processes of traditional language-learning practices. Foundational to this thesis is an exploration of the Neutral Mask (NM), an actors training tool developed by French physical theatre pedagogue Jacques Lecoq. A student of Lecoq (1990- 1992), I understand NM as a transformative learning experience; it shapes the autoethnographic narrative of this study. My research considers the relationship between the body and verbal speech in English-language learning, as mediated by the mask. An acting tool at the heart of Lecoq’s School, the mask values the non-verbal communication of the body and its relationship to verbal speech. My study explains how the mask, by its design, can reach diverse learning needs to offer newcomer students a sense of agency in their language learning process. I further demonstrate how through discussion of an experimental applied practice field study. -
Activity 12Th November 2013
Episode 32 Activity 12th November 2013 Mime Key Learning Students will practise and perform their own mime, work cooperatively with other classmates and develop creativity. The Australian Curriculum English / Literacy / Interacting with others English / Literacy / Interacting with others Use interaction skills when discussing and presenting ideas and Use interaction skills, for example paraphrasing, questioning information, selecting body language, voice qualities and other and interpreting non-verbal cues and choose vocabulary and elements, (for example music and sound) to add interest and vocal effects appropriate for different audiences and meaning (ACELY1804) purposes (ACELY1796) Discussion Questions 1. What is mime? 2. What does mime mean in ancient Greek? a. To imitate b. To run c. To be happy 3. Mime is one of the earliest forms of drama. True or false? 4. A mime artist will often dress in which two colours? 5. What French actor is famous for their miming performances? 6. What Aussie performers are well known for their mime? 7. What skills do you need to be a good mime artist? 8. What mime routine does Tash practise in the Mime story? 9. What colour do mime artists often paint their face? 10. Practice the ‘trapped in a box’ mime as a class. Activities Practise mime As a class practice the ‘trapped in a box mime’ like Tash does in the BtN Mime story. Refer to Step 5 in the WikiHow ‘How to Mime’ tutorial http://www.wikihow.com/Mime What did you find difficult? How did you use your body to convey emotions, attitudes and reactions? How could you make your mime interesting for your audience? Why is imagination and creativity so important in the art of mime? ©ABC 2013 Ask students to choose another physical movement to mime, for example flying a kite, playing soccer or cooking a cake. -
Dr. Ed's Movie Reviews 2020
Dr. Ed’s Movie Reviews 2020 Yardeni Research, Inc. Dr. Edward Yardeni 516-972-7683 [email protected] Please visit our sites at www.yardeni.com blog.yardeni.com thinking outside the box “1917” (+ +) received the Best Picture award during the Golden Globe Awards held on 1/5/20. It was well deserved. Directed, co-written, and produced by Sam Mendes, the film is about two young British soldiers during World War I who were ordered to deliver a message deep in enemy territory to save 1,600 of their compatriots from an ambush by German forces. The acting is excellent, and the cinematography is outstanding, with very long camera shots creating the impression of one continuous take. The depiction of war’s horrors was also exceptional. Even more exceptional was the 2018 documentary “They Shall Not Grow Old,” directed and produced by Peter Jackson. That film was created using original WWI footage that had been digitally restored. The agony of war, particularly trench warfare, was remarkably graphic. “Away” (+) is a binge-able Netflix series about an American astronaut, played by Hilary Swank, embarking on a dangerous mission to Mars as commander of an international space crew with representatives from China, India, Russia, and Ghana. The first season spends more time on the emotional toll of being away from family and loved ones on a three-year roundtrip to the Red Planet than on the actual journey, which obviously doesn’t go so smoothly with plenty of technical and interpersonal problems along the way there. So it’s a touchy-feely Mars movie. -
Physical Theatre: Brecht and Berkoff
Year 10 Knowledge DRAMA Organiser Autumn 2 Physical Theatre: Brecht and Berkoff In the end, you will be able to: Section A: Physical Theatre Identify and use the conventions of status and tension within other people performances and your own performances. Physical Theatre • A style which uses choreographed Be able to develop effective and appropriate body language for different movement and dancing to tell a story. characters. • These movements can be combined with traditional dialogue or used on their own. To understand and be able to manipulative your physicality to express • Minimal set and props are used so that the different emotions, concepts and ideas. audience can focus on the physical action. • Sometimes the actors’ bodies are used as To understand and use Brecht's theory of Gestus in both your own objects onstage. performances and recognise it in other peoples’ performances. • There is nothing realistic about this way of movement and so this style can be To understand and use Berkoff’s style of Total Theatre in their associated with Brecht and Artaud. performances. • Performers can communicate emotion to the audience that would be difficult to Section B: Bertolt Brecht and Steven Berkoff convey using dialogue. Steven Berkoff A British theatre practitioner (born 1937) who is known Non-naturalistic Epic Theatre – BERTOLT BRECHT for his experimental style. His plays often use physical • Opposite of naturalism – it aims to distance the audience from the theatre techniques like mime, exaggerated movement story by reminding them it isn’t real. and improvisation. He believes that actors’ bodies • This encourages the audience to focus on the play’s message or should convey the story rather than relying on sets.