Word: marceauã
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...second act of the show, “Les Contes Fantastiques (Fantastic Tales),” reflects Marceau??s conviction that any artist must also have full knowledge and understanding of the historical roots of his craft. The first mimodrama, “The Wandering Monk,” has stylistic and thematic roots in Japanese Noh drama, and the calm, flowing movement of the company reflects the peacefulness of Zen Buddhism...
...retelling of an ancient Chinese tale, complete with intricate martial arts choreography. The specifics of each piece reflect the wide range of disciplines in which all members of the company has trained: pantomime, Decroux’s exacting “grammar for the body,” Marceau??s own modern mime technique, dance, acrobatics, fencing and martial arts...
...addition to these theatric and literary sources, every member of Marceau??s company has some training in dance as well, and this background is evident in the grace with which the cast members carry themselves onstage, regardless of specific attributes of character. The dance skills of the company are most explicitly displayed in the court dances of “The Masquerade Ball” and in the smoothly articulated unison movements of monks in “The Wandering Monk...
While the first act of the show is a collection of Marceau??s previous solo creations, the second half is the product of an intensive collaborative process within the company. Development of these mimodramas began while Marceau was on a solo tour in Mexico; he presented concepts and story outlines to the rest of the company, then left them to fill in as much as they could before he returned. After weeks of discussion of how to adapt each tale for the stage and beginning to set staging, Marceau returned to direct...
When he is not performing, Marceau teaches at L’Ecole International de Mimodrame de Paris Marcel Marceau, where the members of his company trained. All members of Marceau??s company were personally invited by Marceau to join his company during their third and final year of training...