"Two artists in the summits of their art of mime , at the middle-path between the dance and the theater, perfectly accompanied by the music, they fascinate the spectator by their expertise … All their body is in movement, in a total control "
Louis Fouquoire (www.lepetitjournal.com/singapour)
8 april 2015
In order to make our art more accessible, we have designed a series of lectures/ shows around the question of contemporary mime, body dramaturgy, contemporary staging and pedagogy of the actor. In a playful and relaxed but always demanding way, we wanted to give these conferences a spectacular character to allow the greatest number to penetrate into the mysteries of creativity.
The Theatrical Body or what is mime?
Funny and poetic journey into the world of mime.
In this lecture / show, we will talk about the fundamentals of mime and its own dramaturgy, to understand what makes it a language, to access the specific creative process of this art.
We want to confront the clichés of mime to show and demonstrate that mime is not only silent: he does not speak because he does not need it. The mime is not condemned to a white face - accident of history or choice of artist - this mask has nothing to do with the fundamentals of the art of mime. The mime works with the invisible because it is part of his own dramaturgy but he is also skilled with the object which in his hands becomes alive ...
Identity (s) of the Mime
proposed by the National Institute of Mime and Gesture Arts of Périgueux
Sara Mangano and Pierre-Yves Massip look at thirty years of shows at the Mimos festival, demonstrating the creativity of artists who work to develop a theatre rooted in physical dramaturgy. The two performers alternate demonstrations, explanations and video projections, allowing the public to explore the various facets of Mime Art and Gesture: between the burlesque and the poetic, on the borders between dance and acrobatics, like puppetry; to detect a common language
The Body at Work
the formation of the ideal actor
From experimentations at the school Vieux Colombier to Jacques Lecoq and Etienne Decroux, we imagined the ideal course in the formation of a young actor.
The Mimesis, the body at play, the first approach of the text, the comprehension of the issues of dramaturgy ... We thus summon the work of analysis of the movement from Rudolf Laban, the physical actions from Stanislasky, the sense of memories from Lee Strasberg to interpret Paul Claudel and Shakespeare as well as gestural poems and performative actions.
Speech Theatre, Physical Theatre
on the evolution of the place of speech, text and body in the history of representation
A playful walk in the history of theatre to discover the eternal sway between the predominance of a theatre based on the dramatic text and one where the body and the movement outweigh the speech. But it also finds moments of balance and harmony where a kind of total theatre emerges to bring together audience and critic.