Word: mimed
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...Fausses Confidences the actors thoroughly enjoyed convincing us that love is hindered neither by sincerity nor by some calculation. Everthing turns out well in the end and M. Barrault as the well-meaning troublemaker, Dubois, was at his best relying on mime and expressive gestures. There is a clear and consistent comic freedom in the Marivaux which allowed the company to show off its virtuoso technique...
...display their art in its purest form, without scenery, costumes or an imposing vehicle. They ran the gamut from the most subtle verbal effects to no words at all. Barrault's final pantomimes were the epitome of freedom within a highly stylized form. Compared to Marcel Marceau his mime was less delicate and less detailed but it had energy, spontaneity and excitement that Marceau cannot equal. The mimes conveyed best of all Barrault's idea of theater as creative play, the purpose of which is to always keep men young in spirit. As he said in Holyoke one night during...
...Gutrune). All three gave occasionally fine performances, but no one of them dominated the stage in the spacious manner of a Kirsten Flagstad, a Helen Traubel or a Lauritz Melchior. The most consistently good performances, both vocally and dramatically, were supplied in the supporting roles-Norman Kelley as Mime, Blanche Thebom as Fricka and Waltraute, Jean Madeira as Erda. What really held audiences, however, was the Wagnerian power of the Met's orchestra, conducted once by Dimitri Mitropoulos (Walküre) and the rest of the time by the Met's Wagner veteran, Fritz Stiedry...
...three leads, Margaret, Faust, and Mephistopheles, make the most of their lines and play beautifully together. The brilliance of Frederick Warriner as Mephistopheles stood out like a sizzling fire cracker. He played a green and sparkling devil of serpentine grace and satanic power. A superb mime, Warriner walked the tightrope of maintaining himself as both a loathsome creature and a dilettante of debonair charm. He did not falter. The quiet, brooding force of Robert Evans acted as a good foil for Mephistopheles, and Evans handled his long monologue in the first act with superb skill. Margaret, as played by Frances...
...such frankly operatic efforts as Porgy and Bess -only 20 of its 140 minutes are filled with spoken words, a percentage which compares favorably with Mozart's Magic Flute. Putting such works on records required very special abilities, e.g., coaxing people whose first impulse is to mime and pose into playing entirely for the ear, and then creating in sound the invisible stage action and mood...