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An
Outstanding Approach to Mime
To
appreciate our approach to mime, you must first understand that
our approach is completely different, even contradictory
to how mime is taught and performed today.
More importantly, the
impact of our approach on
audiences is second to none, equal to the most hilarious
and most moving
performances in theatre today.
But
our success has little to do
with the talent or ability of the actors. It is the
result of our approach to mime.
Cary Trivanovich began
his artistic career ignorant of how mime was "supposed
to be" performed, and began creating pantomimes
following no clear discipline or tradition. He
created with the audience in mind. He wanted what
they see on stage to be pantomimes about themselves - to
identify with them. In doing so, Cary inadvertently
created and performed with the same approach that made
the art loved in ancient Greece:
"When every one of the spectators
identifies himself with the scene enacted, when each
sees in the pantomime as in a mirror the reflection of
his own conduct and feelings, then, and not till then,
is his success complete. But let him reach that point,
and the enthusiasm of the spectators becomes
uncontrollable, every man pouring out his whole soul in
admiration of the portraiture that reveals him to
himself..."
Lucian, 2nd century AD
This quote sounds more like a response to
a relevant play or to a movie than to a pantomime. Yet, this second
century exhortation implies that this is precisely how
the art form was intended to be - a reflection of real
life.
Today's Traditional Approach
The way mime is approached and perceived
today is really an accident of history.
Today's modern mime
emanates from early 20th century French styles that
emphasized a non-realistic, metaphoric approach. Four French artists,
Etienne Decroux, Jean-Louis Barrault, Jacques Lecoq, and Marcel Marceau,
all have their roots in the acting school of Jacques Copeau - the
Vieux Columbier. Copeau was an advocate of impressionism, which
subsequently spawned the metaphoric, yet varied styles of the four
French artists. These four established their own schools, consequently
setting a foundation and standard for how mime was approached in the 20th
century. Therefore, they form the basis of most of what is seen in mime
today.
However, there were earlier mime actors who
were popular and very different (i.e., Chaplin, Keaton,
Stan Laurel, Max Linder, Bert Williams, Angna Enters,
Charles Weidman, and others), these did not establish
schools, and therefore, have been overlooked in modern
theatre education.
Most of today's
traditional mimes aspire
to be like Marceau, but lack the substance of his
teaching. The majority of them approach the art
with the concept of the French styles, but with the basic getup and
demeanor of what has become stereotypical for mimes, meandering
as street performers, pretending to be a robot or to be
trapped in a box, or mimicking innocent passers-by. As a result, the public's perception of
mime over the last few decades has been, for the most
part, nothing more than the "white-face mime in a box"
- a nice little diversion at a county fair, but nothing
worthy of respect in the performing arts.
The early French schools have both
benefited and undermined the art at the same time. They
have been beneficial in that the art has been explored
and preserved over the last century but undermining
because the impressionistic, abstract, and clown-like
approaches work with only a select audience today.
Back to the Drawing Board
We approach the art by
going back to the drawing board - all the way back to
the second century to adhere to Lucian's exhortation: To
portray and to identify with each spectator as if to
reflect his conduct and feelings. Humanity thrives
on identifying with that which is personal and
meaningful to life. This characteristic is what allows the
arts to have impact. We believe it is why movies
are the art form we patronize the most - The great
movies are so true-to-life, and
therefore portray our conduct and feelings with such
power. This is how we see mime at its best.
To
consider our approach, one must forget the stereotype
white-face mime of today and think simply of theatre,
only without words. Think of moments in life - truth
- presented on stage.
This is not to say that we have abandoned good, fun
entertainment and modern concepts that work wonderfully
in theatre. As Chaplin, Keaton, and Red Skelton
combined slapstick comedy with pathos, we strive for
such a balance in concert and student performances.
With regard to movement, we uphold the highest standards
of performance techniques and precision. We also believe
that the pantomime actor's movement should be natural -
not looking contrived or overdone. We also advocate
realistic mimed objects and illusions, when appropriate, executed with
precision and grace, even stimulating to the mind's
eye. We incorporate dance in some pantomimes as well,
really the same as dance in a spoken play. The mix of
pantomime, music, and dance worked powerfully centuries
ago, as it does today.
In
short, our approach to pantomime is a true-to-life style
mixed with some fun creativity. It can be
extremely entertaining, funny, and astounding to the
eye, and above all it can speak to the heart.
Our
student pantomime productions rival the experience of
any theatrical production. You can't really comprehend
it unless you see it for yourself.
This approach to pantomime is what makes
theatre affect lives, and it is what we are all about.
Cary Trivanovich
and Robert Manning
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