Mime And Performance Skills
Introduction And Program Description
Mime is acting based in gesture and movement. The program covers basic mime
isolation exercises for body control and the study of the basic mime techniques
of illusion which are created using the elements of tension/relaxation, fixed
point, tuc (emphasis), articulation, resistance and compensation (movement of
opposites). Solo, partner and group exercises and activities enhance the
learning process and can lead towards the creation of performance pieces
depending on the length of the training.
The program content includes the following activities:
- Physical exercises for energy and flexibility
- Basic mime isolation exercises for body control
- Basic mime illusionary techniques
- Mime improvisation and composition
- Group activities based on different themes
- Performance skills
Learning Objectives
The program aims to introduce participants to the basic elements of mime for the
stage. In this process, they will also develop increased focus and
concentration capabilities, performance and communication skills, and the
ability and opportunity to create. If the program is designed for a company,
relating the skills of the actor/creator to skills used on the job will be a
strong connection throughout.
The basic isolation techniques are excellent training for body control and
articulation. Classical mime techniques and illusions are a challenge to learn
and a joy to watch when performed well. To develop a silent world without the
assistance of props and words can stimulate the imagination and creativity, with
care to watch out for the pitfalls of falling into the cliche and banal.
Contemporary mime makes use of many additional elements such as sound, text, and
objects to enhance the desired ideas, from the serious and profound, to the
experimental and abstract, to the humorous and absurd.
Further objectives will be determined at the beginning of the program based on
the needs identified by the participants. Once basic skills are learned and
demonstrated, any of the following additional items can be touched upon and
developed:
- Clown
- Instruments and sound with mime
- Storytelling and poetry
- Kabuki theatre (Japanese traditional form)
- Learning a repertoire piece (see "Les Moutons de Panuge" described below)
- Character work
- Masks
- Street mime
Methodology
- Lecture/Demonstration
- Individual, partner and group mime and movement exercises
- Improvisation and composition
- Performance and presentations
Equipment
Organisation or company must provide training equipment including audio CD player (for music), flipcharts and markers, and ample space for movement.
Duration
The Mime Training can range from a delightful one-hour keynote presentation to a 3-hour short-term workshop to a full day up to a full week of more intensive training. If a performance is desired, the longer training will be necessary.
Ensemble Performance Piece Option - "Les Moutons de Panurge"
Les Moutons de Panurge (The Sheep of Panurge) is a 15-minute production composed
by my former mime theatre group, the United Mime Workers Theatre Company.
During our 15-year history (1971-1986), it was the most popular and long-lasting
piece in our repertoire. I have re-worked the piece twice as part of
residencies at universities with great success, and it would be possible to do
the same for your organisation or company, incorporating it as part of a larger
performance, or to be presented as a stand-alone piece. It is dynamic, a
challenge to perform, and needs a minimum of 4 (and up to 8) mime performers.
It can be performed with an audio tape or by a group of live musicians, either 4
percussionists or a larger group with various instruments.
It is an experimental mime piece, more like a dance, and is abstract in form
with recognizable motifs of a day-in-the-life of a working person.
The movement piece has a structure of 65 movements. It is performed in
conjunction with the musical score, composed by Frederic Rzewski, which has 65
notes. In the last student production, a sculpture class also participated by
creating sculptures which became the stage set. The title of the piece comes
from a Rabelais tale about the tendency of people to follow each other without
thinking, like sheep. The theme is still as relevant today as it was when the
piece was first composed in 1972.