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Books > Arts & Architecture > Performing arts > Theatre, drama > Mime
The great French mime performer, Claude Kipnis, reveals the
mechanisms and techniques of mime in an easy-to-understand
translation. This is not a theoretical "art of" book, but a
functional "how to" and "why to" instructional guide. Individual
exercises are included, together with detailed coverage of body
movements, the illusion and how to create a world. We know of no
other book that so comprehensively explains how the functions of
mime are achieved. Certainly a basic text for any aspiring mime.
1. Of interest to actors and object-animators. 2. Useful for
directors, devisers, and collective creators 3. A new way of
looking at the theatre history of the 20th century 4. Good for
Theatre Anthropologists.
Towards a Theory of Mime is a genuinely unique book about
non-verbal communication and performance. Combining a broad global
history of the evolution of human communication with an
introduction to the general practice of mime, Alexander Iliev
traces a lineage from Marceau and Barrault to his own distinguished
practice as performer and teacher. The book moves from a
fascinating description of the first principles of gestural
language to a stunning sequence of specific exercises in practical
training. Written in a sometimes poetic, always accessible and
often humorous style, Towards a Theory of Mime conveys complex
ideas in a strikingly accessible way. Alexander Iliev has over
forty years experience practising and teaching both theatre and
anthropology around the world. He is currently Associate Professor
at the National Academy in Sofia.
Towards a Theory of Mime is a genuinely unique book about
non-verbal communication and performance. Combining a broad global
history of the evolution of human communication with an
introduction to the general practice of mime, Alexander Iliev
traces a lineage from Marceau and Barrault to his own distinguished
practice as performer and teacher. The book moves from a
fascinating description of the first principles of gestural
language to a stunning sequence of specific exercises in practical
training. Written in a sometimes poetic, always accessible and
often humorous style, Towards a Theory of Mime conveys complex
ideas in a strikingly accessible way. Alexander Iliev has over
forty years experience practising and teaching both theatre and
anthropology around the world. He is currently Associate Professor
at the National Academy in Sofia.
First Published in 1998. Routledge is an imprint of Taylor &
Francis, an informa company.
The Decroux Sourcebook is the first point of reference for any
student of the 'hidden master' of twentieth century theatre. This
book collates a wealth of key material on Etienne Decroux,
including: an English translation of Patrice Pezin's 'Imaginary
Interview', in which Decroux discusses mime's place in the theatre.
previously unpublished articles by Decroux from France's
Bibiotheque Nationale. essays from Decroux's fellow innovators
Eugenio Barba and Edward Gordon Craig, explaining the synthesis of
theory and practice in his work. Etienne Decroux's pioneering work
in physical theatre is here richly illustrated not only by a
library of source material, but also with a gallery of images
following his life, work and influences. The Decroux Sourcebook is
an ideal companion to Thomas Leabhart's Etienne Decroux in the
Routledge Performance Practitioners series, offering key primary
and secondary resources to those conducting research at all levels.
Despite its unabated popularity with audiences, slapstick has
received rather little scholarly attention, mostly by scholars
concentrating on the US theater and cinema traditions. Nonetheless,
as a form of physical humor slapstick has a long history across
various areas of cultural production. This volume approaches
slapstick both as a genre of situational physical comedy and as a
mode of communicating an affective situation captured in various
cultural products. Contributors to the volume examine cinematic,
literary, dramatic, musical, and photographic texts and
performances. From medieval chivalric romance and
nineteenth-century theater to contemporary photography, the
contributors study treatments of slapstick across media, periods
and geographic locations. The aim of a study of such wide scope is
to demonstrate how slapstick emerged from a variety of complex
interactions among different traditions and by extension, to
illustrate that slapstick can be highly productive for
interdisciplinary research.
The Decroux Sourcebook is the first point of reference for any
student of the hidden master of twentieth century theatre.
This book collates a wealth of key material on Etienne Decroux,
including:
- an English translation of Patrice Pezin s Imaginary Interview,
in which Decroux discusses mime s place in the theatre.
- previously unpublished articles by Decroux from France s
Bibiotheque Nationale.
- essays from Decroux s fellow innovators Eugenio Barba and
Edward Gordon Craig, explaining the synthesis of theory and
practice in his work.
Etienne Decroux s pioneering work in physical theatre is here
richly illustrated not only by a library of source material, but
also with a gallery of images following his life, work and
influences.
The Decroux Sourcebook is an ideal companion to Thomas Leabhart
s Etienne Decroux in the Routledge Performance Practitioners
series, offering key primary and secondary resources to those
conducting research at all levels.
An Indie Next Pick for July 2017 "7 Best Books of July," Men's
Journal "10 Titles to Pick Up Now," O, The Oprah Magazine "Most
Anticipated Books of 2017," The Millions "A unique, poetic critical
appreciation of Marcel Marceau.... A fascinating book.... Readers
will marvel not only at Marceau, but at the book itself, which
displays such command of the material and such perfect pitch."
-Kirkus Reviews, starred review As a fledgling radio producer,
Shawn Wen became fascinated by the one subject who seemed
impossible to put on air: French mime Marcel Marceau, the
internationally acclaimed "artist of silence." At the height of his
fame, Marceau was synonymous with Bip, the red-lipped, white-faced
mute in a sailor suit who conjured scenes, stories, and sweeping
emotion through the gestures of his body alone. Influenced by
Charlie Chaplin's Little Tramp, credited with inspiring Michael
Jackson's Moonwalk, Marceau attempted in his performances to
"reveal the fundamental essences of humanity." Beyond Bip, Marceau
was a Jewish Holocaust survivor and member of the French
resistance; a bombastic iconoclast; a collector of failed
marriages, masks, antique knives and doting fans; an impassioned
workaholic who performed into his eighties and died deeply in debt
soon after leaving the stage. In precise, jewel-like scenes and
vignettes, A Twenty Minute Silence Followed by Applause pays homage
to the singular genius of a mostly-forgotten art form. Drawing on
interviews, archival research, and meticulously observed
performances, Wen translates the gestural language of mime into a
lyric written portrait by turns whimsical, melancholic, and
haunting. Shawn Wen is a writer, radio producer, and multimedia
artist. Her writing has appeared in The New Inquiry, The Seneca
Review, The Iowa Review, The White Review, and the anthology City
by City: Dispatches from the American Metropolis (Faber and Faber,
2015). Her radio work has been broadcast on This American Life,
Freakonomics Radio, and Marketplace. She is the recipient of
numerous fellowships, including the Ford Foundation Professional
Journalism Training Fellowship and the Royce Fellowship.
'In life, I want students to be alive and on stage I want them to
be artists' Jacques Lecoq Jacques Lecoq was one of the most
inspirational theatre teachers of our age. In The Moving Body, he
shares with us first-hand his unique philosophy of performance,
improvisation, masks, movement and gesture, which together form one
of the greatest influences on contemporary theatre. Neutral mask,
character mask and counter masks, bouffons, acrobatics, commedia,
clowns and complicity: all the famous Lecoq techniques are covered
in this book - techniques that have made their way into the work of
former collaborators and students including Dario Fo, Ariane
Mnouchkine, Yasmina Reza and Theatre de Complicite. The book
contains a foreword by Simon McBurney, a critical introduction by
Mark Evans and an afterword by Fay Lecoq, Director of the
International Theatre School in Paris.
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