Word: mimes
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Dates: during 1970-1979
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Developed by Paul Sills (of Chicago Second City fame) at the Yale Drama School, story theatre techniques combine mime and improvisation. Its actors speak not only their own dialogue but also the general narrative line. Props and sets are kept at a minimum, permitting the actors themselves to suggest the imaginative terrain of their work...
...author and diplomatic bigwig, who married Phyllis (Alexis Smith), an ex-Follies girl; and Buddy Plummer (Gene Nelson), an oil-rigging salesman, who married Sally (Dorothy Collins), also an ex-Follies girl. We swiftly learn that both marriages are empty failures. Younger versions of the foursome sing, dance and mime their yesteryear courtship rituals. Sally has always worshipped Ben, but we see him making a drunken pass at another old flame (Yvonne de Carlo). Buddy rather brutally tells Sally that he has a girl in Dallas who is everything to him that Sally is not. Phyllis is essentially the married...
...Franco-Belgian troubadour. He wrote the songs on which the show is based-all twenty-five of them. A cast of four (out of a rotating pool of seven) performs nightly; not only do they sing, but also they provide, thanks to director Moni Yakim, a bit of mime and dance...
...scene in the Western section of the movie portrays in mime the confrontation of the union delegate with management. The voice of the narrator insists, "But even in the presentation of his demands, the union representative is betraying the workers." That notion is intellectually exciting: simply placing the question in the language and symbols of the ruling class has betrayed the will of the strikers...
...mask of mortal exhaustion and despair that might have been painted by Edvard Munch. She smokes, paces, contemplates herself in a mirror, stares moodily, doubles over in a spasm of nausea. All of the contradictory qualities that are to make up her mordantly gripping performance she foreshadows in mime: hauteur and anxiety, narcissism and feelings of revulsion toward her femininity, commanding energy and naked vulnerability. In overture and miniature the theme has been inexorably set. What follows is inescapably colored by the fact that the audience has already been given a glimpse into Hedda's doomed soul...