Word: mimes
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...first job, at age 14, confirmed his hunch, for he caught on with Bob Pender, who managed a troupe of boy acrobats as if it were a kindly, disciplined, extended family. Young Archie learned acrobatics, mime and, above all, the joys of camaraderie and the need for collegial generosity. At the height of his career, he would remain the least narcissistic of actors, always willing to share scenes and to take a chance with some undignified business if someone thought it would work...
...situation is, well, sort of hilarious. So, revel in the humor and know that field ± sporting event + alcohol + defiant community = fun. The utter absence of Yale students means more alcohol for Harvard students and fewer pranks that nobody notices. (It’s like the mime in a forest question. If a prank happens in a stadium, and nobody sees it, does it happen? No.) And the new restrictions beg for student guerilla-style ingenuity. Line your pants pockets with plastic bags and then fill them with gin or moonshine. Better yet, do this with cargo pants...
When you were making this movie, with its mime jokes and cracks about the French being quick to surrender and taking five hours to eat dinner, did you ever feel like a traitor...
...After such deft sleight of hand, it's not surprising to learn that the director's preferred medium is magic. New Zealand?born Nawalowalo, 43, played basketball for her country before joining a mime troupe that took her to Europe in the late '80s. For seven years she worked with English illusionist Richard McDougall, melding mime, masks and magic. But a 1994 trip back to Fiji with her ailing father proved to be a turning point. Being exposed to the female rituals of village life made the director "want to go deeper into my own culture," she says. By decade...
...most bizarre. The sound-effect score of Anna K. Grichting ’07 and Steven L. Pappas ’06 partnered with the instinctual choreography of Sonia K. Todorova ’07 to an equivocal effect. Todorova’s background in mime contributed to the work’s forte: although the dance’s choreography came off as too opaquely modern, the non-traditional use of pantomime conveyed human emotion through simple hand gestures and a variation on the miming rope trick. The strongest of the student choreography was ironically the piece that started...