Chapter 2: Pantomime and Mime
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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. -
Patterns of Behavior: Analyzing Modes of Social Interaction from Prehistory to the Present
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-2010 Patterns of Behavior: Analyzing Modes of Social Interaction from Prehistory to the Present Whitney Nicole Hayden University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Part of the Other Languages, Societies, and Cultures Commons Recommended Citation Hayden, Whitney Nicole, "Patterns of Behavior: Analyzing Modes of Social Interaction from Prehistory to the Present" (2010). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1374 This Dissertation/Thesis is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Patterns of BEHAVIOR APPROPRIATE INTERACTION IN SOCIETY: FROM PREHISTORY TO THE PRESENT Patterns of BEHAVIOR APPROPRIATE INTERACTION IN SOCIETY: FROM PREHISTORY TO THE PRESENT We are spending less time with physical people and the community and more time with objects. We are getting to the point where we don’t have to interact with people in the physical: e-mail, instant messaging, texting, tweeting, and social networking. Are we having real conversations? There is no intonation in an e-mail or text message. Doesn’t intonation, body language, and facial expressions make up half of the experience in a conversation? Merriam-Webster defines “conversation” as such: oral exchange of Western civilization has been captivated by the electronic sentiments, observations, opinions, or ideas. -
Blurred Lines Between Role and Reality: a Phenomenological Study of Acting
Antioch University AURA - Antioch University Repository and Archive Student & Alumni Scholarship, including Dissertations & Theses Dissertations & Theses 2019 Blurred Lines Between Role and Reality: A Phenomenological Study of Acting Gregory Hyppolyte Brown Follow this and additional works at: https://aura.antioch.edu/etds Part of the Psychology Commons BLURRED LINES BETWEEN ROLE AND REALITY: A PHENOMENOLOGICAL STUDY OF ACTING A Dissertation Presented to the Faculty of Antioch University Santa Barbara In partial fulfillment of the requirements for the the degree of DOCTOR OF PSYCHOLOGY In CLINICAL PSYCHOLOGY by GREGORY HIPPOLYTE BROWN August 2019 This dissertation, by Gregory Hippolyte Brown, has been approved by the committee members signed below who recommend that it be accepted by the faculty of Antioch University Santa Barbara in partial fulfillment of requirements for the degree of DOCTOR OF PSYCHOLOGY Dissertation Committee: _________________________ Brett Kia-Keating, Ed.D. Chairperson __________________________ Sharleen O‘ Brien, Ph.D. Second Faculty __________________________ Thalia R. Goldstein, Ph.D. External Expert ii Copyright © 2019 Gregory Hippolyte Brown iii Abstract When an actor plays a character in a film, they try to connect with the emotions and behavioral patterns of the scripted character. There is an absence of literature regarding how a role influences an actor’s life before, during, and after film production. This study examined how acting roles might influence an actor during times on set shooting a movie or television series as well as their personal life after the filming is finished. Additionally the study considered the psychological impact of embodying a role, and whether or not an actor ever has the feeling that the performed character has independent agency over the actor. -
Course Outline
Degree Applicable Glendale Community College April, 2003 COURSE OUTLINE Theatre Arts 163 Acting Styles Workshop in Contemporary Theatre Production I. Catalog Statement Theatre Arts 163 is a workshop in acting styles designed to support contemporary theatre production. The students enrolled in this course will be formed into a company to present contemporary plays as a part of the season in the Theatre Arts Department at Glendale Community College. Each student will be assigned projects in accordance with his or her interests and talents. The projects will involve some phase of theatrical production as it relates to performance skills in the style of Contemporary World Theatre. Included will be current or recent successful stage play scripts from Broadway, Off-Broadway, West-end London, and other world theatre centers and date back to the style changes in realism in the mid-to-late 1950’s. The rehearsal laboratory consists of 10-15 hours per week. Units -- 1.0 – 3.0 Lecture Hours -- 1.0 Total Laboratory Hours -- 3.0 – 9.0 (Faculty Laboratory Hours -- 3.0 – 9.0 + Student Laboratory Hours -- 0.0 = 3.0 – 9.0 Total Laboratory Hours) Prerequisite Skills: None Note: This course may be taken 4 times; a maximum of 12 units may be earned. II. Course Entry Expectations Skills Expectations: Reading 5; Writing 5; Listening-Speaking 5; Math 1. III. Course Exit Standards Upon successful completion of the required course work, the student will be able to: 1. recognize the professional responsibilities of a producing group associated with the audition, preparation, and performance of a theatre production before a paying, public audience; 2. -
Definition of Pantomime: A Theatrical Entertainment, Mainly for Children
Definition of Pantomime: A theatrical entertainment, mainly for children, which involves music, topical jokes, and slapstick comedy and is based on a fairy tale or nursery story, usually produced around Christmas. A typical Pantomime storyline: Normally, a pantomime is an adapted fairytale so it is usually a magical love story which involves something going wrong (usually the fault of an evil baddy) but the ending (often after a fight between good and evil) is always happy and results in true love. Key characters in Pantomime: The female love interest, e.g Snow White, Cinderella etc The Handsome Prince e.g Prince Charming The evil character e.g the evil Queen in Snow White The faithful sidekick - e.g Buttons in Cinderella The Pantomime Dame - provides most of the comedy - an exaggerated female, always played by a man for laughs How to act in a pantomime style: 1. Your character is an over-the-top type’, not a real person, so exaggerate as much as you can, in gesture, voice and movement 2. Speak to the audience - if you are a ‘Goody’, your character must be likeable or funny. If you are a ‘Baddy’, insult your audience, make them dislike you from the start. 3. There is always a narrator - make sure she knows speaks confidently and knows the story well. 4. Encourage the audience to be involved by asking for the audience’s help, e.g “If you see that naughty boy will you tell me?” 5. If you are playing that ‘naughty boy’, make eye contact with the audience and creep on stage. -
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. -
Hutman Productions Publications Each Sale Helps Us to Maintain Our Informational Web Pages
Hutman Productions Publications Mail Order Catalog, 4/17/2020 P R E S E N T S: The Very Best Guides to Traditional Culture, Folklore, And History Not Just a "good read" but Important Pathways to a better life through ancient cultural practices. Each sale helps us to maintain our informational web pages. We need your help! For Prices go Here: http://www.cbladey.com/hutmanbooks/pdfprices.p df Our Address: Hutman Productions P.O. 268 Linthicum, Md. 21090, U.S.A. Email- [email protected] 2 Introduction Publications "Brilliant reference books for all the most challenging questions of the day." -Chip Donahue Hutman Productions is dedicated to the liberation of important resources from decaying books locked away in reference libraries. In order for people to create folk experiences they require information. For singing- people need hymnals. Hutman Productions gathers information and places it on web pages and into publications where it can once again be used to inform, and create folk experiences. Our goal is to promote the active use in folk experiences of the information we publish. We have helped to inform countless weddings, wakes, and celebrations. We have put ancient crafts back into the hands of children. We have given songs to the song less. We have provided delight and wonder to thousands via folklore, folk music and folk tale. We have made this information freely accessible. We could not provide these services were it not for our growing library of 3 publications. Take a moment to look them over. We hope that you too can use them as primary resources to inform the folk experiences of your life. -
Merry Krampus: Alternative Holiday Praxis in The
MERRY KRAMPUS: ALTERNATIVE HOLIDAY PRAXIS IN THE CONTEMPORARY UNITED STATES by KIRK ANDREW PETERSON A THESIS Presented to the Folklore Program and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2019 THESIS APPROVAL PAGE Student: Kirk Andrew Peterson Title: Merry Krampus: Alternative Holiday Praxis in the Contemporary United States This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Folklore Program by: Daniel Wojcik Chairperson Doug Blandy Member and Janet Woodruff-Borden Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2019 ii © 2019 Kirk Andrew Peterson This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs (United States) License. iii THESIS ABSTRACT Kirk Andrew Peterson Master of Arts Folklore Program June 2019 Title: Merry Krampus: Alternative Holiday Praxis in the Contemporary United States Since the early twenty-first century, individuals in the US have discovered the enduring winter tradition from Alpen Austria known as Krampusnacht. These events center around the figure of the Krampus, a beast-like, punishing “devil” that accompanies St. Nicholas on December 5, the eve of his feast day. By 2010, groups of people in US cities were staging their own Krampusnacht processions in downtown areas, referencing the European enactments while simultaneously innovating their embodiments to meaningfully interact with the Christmas season in the United States. Participation in these events increases annually and the Krampus figure’s presence online and in popular media is on the rise. -
English Christmas Pantomime: Theatre Or Community Activism
Journal of Literature and Art Studies, July 2016, Vol. 6, No. 7, 804-810 doi: 10.17265/2159-5836/2016.07.011 D DAVID PUBLISHING English Christmas Pantomime: Theatre or Community Activism Pete Reader, MFA Seton Hall University, South Orange, NJ, USA How is English Christmas panto community activism? The structure of pantomime has not changed in a hundred years, but allows for local creativity to work within its framework to be both family entertainment and social satire. This basic structure is founded on a children’s story like Puss’n’boots or Cinderella. The story and character types remain the same; but the community can add their own jokes and commentary to make the play relevant to themselves and their community. What is added by the community says a lot about who they are and what they care about. The company Price-Waterhouse-Coopers produces their pantomime as management training and team building while engaging the community. The Basel Swiss panto raises money for African Charities. The Maplewood, NJ panto raises money for the homeless and the Jaguar Charity panto in Birmingham performs to disadvantaged children and adults. The productions can be extravagant or threadbare, but share the same goal of raising cheer and goodwill to the benefit of the community. What is it, then, about panto that brings a community together in such civic mindedness? Keywords: English Christmas pantomine, community engagement, theatre, activism Historical Overview English Christmas Pantomime is an odd form of theatre that serves as a vehicle for local communities to come together, in a form of civic activism, to present plays for the benefit of the community and local charities. -
History of Greek Theatre
HISTORY OF GREEK THEATRE Several hundred years before the birth of Christ, a theatre flourished, which to you and I would seem strange, but, had it not been for this Grecian Theatre, we would not have our tradition-rich, living theatre today. The ancient Greek theatre marks the First Golden Age of Theatre. GREEK AMPHITHEATRE- carved from a hillside, and seating thousands, it faced a circle, called orchestra (acting area) marked out on the ground. In the center of the circle was an altar (thymele), on which a ritualistic goat was sacrificed (tragos- where the word tragedy comes from), signifying the start of the Dionysian festival. - across the circle from the audience was a changing house called a skene. From this comes our present day term, scene. This skene can also be used to represent a temple or home of a ruler. (sometime in the middle of the 5th century BC) DIONYSIAN FESTIVAL- (named after Dionysis, god of wine and fertility) This festival, held in the Spring, was a procession of singers and musicians performing a combination of worship and musical revue inside the circle. **Women were not allowed to act. Men played these parts wearing masks. **There was also no set scenery. A- In time, the tradition was refined as poets and other Greek states composed plays recounting the deeds of the gods or heroes. B- As the form and content of the drama became more elaborate, so did the physical theatre itself. 1- The skene grow in size- actors could change costumes and robes to assume new roles or indicate a change in the same character’s mood. -
20Th Century Drama Extravaganza of the Modern Theatre, As It Was a "Realistic Critique Couched in Terms of Mock-Heroic Fantasy9'(Gassner: 366)
UNIT 5 DEVELOPMENTS IN 20thCENTURY DRAMA Structure 5.0 Objectrves 5.1 Introduction 5.2. Modern Drama 5.2.1 Ibsen 5.2.2 August Strindberg 5.2 3 Anton Chekhov 5.2.4 J.M. Synge 5.2.5 George Bernard Shaw 5.2.6 W. B. Yeats 5.2 7 Luig~Pirandello 5.2.8 Garcia Lorca 5.3 Mid-Century Theatre 5.3.1 Bertolt Brecht 5.3.2 Samuel Beckett 5.4 American Dramatists 5.4.1 Eugene 0' Neill 5.4.2 Tennessee Willianls 5.4.3 Arthur Miller 5.5 Recent Drama 5.5.1 John Arden 5.5.2 Arnold Wesker 5.5.3 Harold Pinter 5.5.4 John Osborne 5.5.5 Edward Bond 5.5.6 Caryl Churchill 5.6 Sorne Other Dramatists 5.6.1 Jean Paul Sartre 5.6.2 Jean Giraudoux 5.6.3 Jean k~ouilh 5.6.4 Gerhart Hauptrnann 5.6.5 Freidrich Duerrenmatt 5.7 Let Us Sum Up 5.8 Exercise 5.9 Suggested Readings 5.1 0 Glossary 5.0 OBJECTIVES In this "nit you will be introduced to drarna written in the 20thcentury and its growth and development. The characteristic features of 20' century Drama and the important 3 6 dramatists of this period are also discussed in this unit. Tlie drama written arid perfor~iied iu tlie 20thcentury is by any standards a major achievenietit. There has been much innovation arid experime~itand this has been related to the growth and crisis of civilization. Tlie new movements in 20thcentury were influenced by liberty, equality and fraternity and the challenging attitude in Art and Life.