Word: mimed
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...acting and staging have made communication between performers and audience almost limitless in possibilities--it is at once astonishing, and yet perfectly logical, that we should find a sudden revival of interest in one of the oldest spectacular arts in existence: The Art of Silence. This Art--called Mime--is as ancient as civilization, and yet is one of the least practiced and most difficult of dramatic forms. It has always had its interpreters, but since the days of the pantomimists of the Commedia dell'Arte, and later, the great 19th century French mime, Deburau, there have been...
Astonishing, yes, that in the last ten years the group of pantomimists who have not been afraid to give over an entire evening in the theatre to acting with gesture alone has been growing rapidly. But it seems to me also to be highly logical. Mime is a universal art. It speaks in a speechless tongue that is immediately comprehensible to everyone. It knows no language barriers. The possibility of misunderstanding does not exist. In a troubled world, where men are working constantly to determine some common ground of understanding, it follows that the theatre--always the reflector...
...again, with more of his adventures, as well as some new pantomimes. It is with real joy that I come, because--in the past few years--the United States has been the scene of significant activity in the Art of Mime...
...Mime is the form of dramatic expression that appears to me as being closest to man. It is a complete art in the sense that it tends toward an all-embracing definition of the human being. A mime can come closest to identification with both human being and inanimate objects, and can express the most carefully hidden feelings. He does this through a series of symbols, subject to certain aesthetic rules, but through which the component parts of reality are broken down and stylized. Thus, his audience recognizes familiar gestures, can feel itself in water, space density, surrounded...
...Actors Company staging of Knots wraps an hour's worth of such vicious circular logic in music hall routines that include slapstick, songs, juggling, mime and dance. Ironically, the format runs into a Laingian knot or two. The words cannot satisfy the action, which in turn fails to satisfy the words. The reason is that Laing's knots are not truly Gordian but slip; what appears complex comes apart with a simple tug. This may even be the point, but it still leaves the actors-none of whom are Laurel or Hardy, or Gallagher & Shean-striving frantically...