LAMDA Examinations Mime Matters A reference document to support teachers and students of Miming and teachers preparing for the LTCP or LSDE teaching qualifications From 1 October 2012 Version 1 LAMDA Examinations 155 Talgarth Road London W14 9DA Telephone: +44 (0)844 847 0520 Fax: +44 (0)844 847 0521 Email: [email protected] Web: www.lamda.org.uk/exams You may not modify, copy, reproduce, re-publish, upload, post, transmit or distribute in any way any of the materials found in this document. Any use of this document not expressly permitted in this Licence Agreement is strictly prohibited and will constitute an infringement of the copyright and other intellectual property rights of LAMDA Examinations. Copyright@ LAMDA Ltd 2012 0 Contents Page What is Mime? 2 The Origins of the Art of Mime 3 Different Types of Mime 5 Practitioners 7 The Difference between a Mime and a Mime Scene 9 Specific Basic Mime Skills/Techniques 10 Mime Games/Exercises 12 Mime Games/Exercises to Develop Precision in General Characterisation 15 Slow Motion, Music and Face Masks 16 Developing a Mime Scene Making Appropriate Use of the Acting Area 18 LAMDA Miming Examinations 19 Appendix 20 Acknowledgements 20 Bibliography 20 Recommended Music 21 1 What is Mime? At its most basic, mime is mimicry performed by an actor or comedian who specialises in the art of narration, portrayal of character, ideas or moods by bodily movement alone. However, Marcel Marceau says ‘mime is not the art of mimicry; it is the art of recreation.’ He is referring to mime as the art of creating the illusion of reality by movement and positions of the body plus the art of imagining the world together with an audience. A mime artist must know their ‘instrument’, their body and find exact muscular tone to suit their action. They must observe life as they live it and see others live it. They need to develop sensitivity to rhythm and physical phrasing so that they can communicate effectively without words and with drama. Mime is the ‘art of silence’. The reason for this silence is not based on a hatred of words or simply the pleasure of telling a story without words; the mime artist can speak what words cannot say and might proclaim in a gesture what a writer may take pages to tell. Mime can be defined as the art of silent recreation. 2 The Origins of the Art of Mime Before the evolution of language, the human desire to communicate was very likely executed through mimicry which later developed into mime. People mimicked animals, objects and the needs of the moment. Then natural rhythms and the musicality of imitated sounds inspired dramatic movement. ‘From this imagined historical perspective, it is easy to believe that mime is inherent in us all.’1 The tradition of mime goes back more than 25,000 years and examples of movement without words can be found in most cultures; the skills of the mime artist emerged from ceremonial performances across every continent. In Ancient Greece, mime became a fine art and produced the first named artist. Telestes was said to be so talented that he was able to perform the entire Trojan Wars ‘through rhythmic steps and gestures’ while the Chorus spoke the rest. As Greek theatre developed, movement became essential to the actor’s art. Roman mime was rooted in the words of the written play and the mime artist’s function was to paraphrase the play in a non-verbal language. An exciting development came with the specific differences between Pylades, the great tragic actor and his contemporary, Bathyllus, the great comic mime artist. The latter performed improvised burlesque scenes that depicted current events, love and adultery and even mocked the Gods. When the Roman Empire fell, this comic tradition was continued by wandering troupes who moved across Europe using dance, gesture and some rough speech but never abandoned the ancient mime tradition. During the Renaissance in Italy, mime flourished and in the mid-fifteenth century the Commedia dell’Arte was created. This popular theatre of the day was robust, farcical and vulgar and its acting companies continued to perform throughout Europe until the mid-nineteenth century. From the eighteenth century in the more refined courts and theatres a pageant-type ballet-pantomime, often based on mythology, became the new entertainment. In London, John Weaver staged The Loves of Mars and Venus at Drury Lane in 1717. In England these pageants and the Commedia dell’Arte evolved into melodramas and harlequinades which in turn influenced the Christmas Pantomimes, many of which still contain stock characters today. Meanwhile in France a more serious form of mime was developing. Deburau immortalized the silent ‘Pierrot’ mimes and was the first to de-emphasise the face by coating it with white flour, as opposed to wearing a mask showing a character. After his death in 1846 the mime tradition struggled until in the 1920s Jacques Copeau founded his school of mime. His students took mime to new heights and by the middle of the twentieth century Paris was the mime centre of the world. 1 Adrian Pecknold, Mime: The Step Beyond Words 3 French based mime was then taken in two directions: Etienne Decroux explored pure mime using the mask and white faces. Marcel Marceau followed him and became an international mime artist. Jacques Lecoq wanted mime to be part of the actor’s general technique and created a school that has influenced much of the physical theatre of today. 4 Different Types of Mime Character A particular character that finds themselves in all types of situations and conflicts drives these mimes. Sensitivity and physical awareness are vital to create and sustain a character. Great mime artists have built special characters that become known and loved by their audiences. Marcel Marceau’s Bip, Charlie Chaplin’s Tramp and more recently Rowan Atkinson’s Mr Bean have all become immortal characters in the mime tradition.2 Occupational Here the purpose of the mime is to communicate ‘business’. It can range from making a sandwich to working a machine. It can be naturalistic but needs theatrical understanding to turn it into a performance. The use of the ‘Clic’ (the accentuated muscular energy that starts and concludes each gesture as described on page 11) and stylised movement can give this mime greater credibility. Characters can be involved, but should not dominate.3 Abstract This type of mime communicates moods and emotions without the use of occupational mime. Its title can be a subject or problem rather than a story, for example Grief or Marcel Marceau’s Life Cycle. Etienne Decroux developed his ‘corporeal’ mime, convinced that the human body alone could fill a stage and express abstract and universal ideas with clarity. The mask or a white face is often used in abstract mime to give emphasis to the bodily movement.4 Traditional Deburau, the Bohemian French mime artist, became the ‘Father’ of traditional mime when he created the poignant Pierrot character. Many more white faced, sad ‘clowns’ followed, producing highly emotional mimes full of illusion, comedy and pathos. The stylised movement of traditional mime is instantly recognisable and often includes the specialized mime moves, for example walking on the spot or climbing the ladder. Traditional mime must have a fine rhythm and a theatrical quality. Commedia dell’Arte Commedia dell’Arte is a form of Italian theatre containing stock characters, masks, farcical action and scenes full of beatings, acrobatics and comic stage business. It was originally performed by strolling players, who improvised short simple scenes and had the freedom to mime and clown. Many of the characters are still recognised today. For example, Pulcinella became the puppet Mr Punch, Arlecchino is recognised as Harlequin and the simple servant Pedrolino was the inspiration for Pierrot. 2 Linked to LAMDA examinations in Miming at Grade 4 3 Linked to LAMDA examinations in Miming at Grade 4 4 Linked to LAMDA examinations in Miming at Grade 7 5 Other stock characters were Pantalone, a rich old miser whose red breeches were passed down to us as pantaloons and finally pants; Il Capitano the swaggering soldier; Il Dottore the fraudulent doctor; Scarramuccia, a type of Robin Hood and Columbina, the witty bright servant. The only unmasked actors played the Innamorati, or lovers, who were not caricatures. In a typical scene, a beautiful girl is seated holding and sniffing a bunch of roses. Sad Pedrolino sees her and falls for her; he then hides as Il Capitano enters. He is followed by the cruel Pulcinella, who is also after the girl. The servants Arlecchino and Columbina come to save her and then her father, Pantalone, rushes in. This results in a huge chase. Someone is hurt and so Il Dottore enters to help. Eventually after much ‘business’, Pantolino takes his daughter away and all leave the stage. Pedrolino returns to the seat and finds a single rose that she has left behind. Today in Venice the traditional masks and costumes of Commedia can be seen and bought. 6 Practitioners Charlie Chaplin (1889-1977) His life is the epitome of the rags to riches story. Born in South London, his parents both worked in the music halls. They separated and he lived in poverty with his mother. At age seven he was sent to a workhouse, at nine his mother was committed to a mental asylum and by 14 he had to fend for himself. He registered with a West End theatrical agency and his potential for comic review was noticed. By 18 he was an accomplished comedian.