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Pierre-Yves Massip, another company member, likens the difference to the fine line between speaking and singing or between painting and sculpture. Marceau prefers to liken mime to writing, in the sense that both are about concisely creating poignant images...

Author: By Marin J.D. Orlosky, CRIMSON STAFF WRITER | Title: Making the Invisible Visible | 10/8/2004 | See Source »

...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...

Author: By Marin J.D. Orlosky, CRIMSON STAFF WRITER | Title: Making the Invisible Visible | 10/8/2004 | See Source »

...program notes for the show, Marceau mentions Greek mime drama, Verdi’s operas, the writings of Edgar Allan Poe and the Brothers Grimm as other influences in these group works. Additionally, he stresses the universality of art as a reflection of common human experience which ties together such a diverse mix of cultural references...

Author: By Marin J.D. Orlosky, CRIMSON STAFF WRITER | Title: Making the Invisible Visible | 10/8/2004 | See Source »

However, Marceau and his company members insist that dance performances have a distinctly different impact on an audience than mime does. Company member Sara Mangano feels that mime expresses “the essence of the movement,” while dance tends to be more decorative...

Author: By Marin J.D. Orlosky, CRIMSON STAFF WRITER | Title: Making the Invisible Visible | 10/8/2004 | See Source »

...Only three or four mime schools exist, and that’s not enough,” says Massip. “To not disappear, mime needs intelligent students...

Author: By Marin J.D. Orlosky, CRIMSON STAFF WRITER | Title: Making the Invisible Visible | 10/8/2004 | See Source »

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