A mime artist is someone who uses mime as a theatrical medium or as a performance art,
involving miming, or the acting out a story through body motions, without use of speech.
In earlier times, in English, such a performer would typically be referred to as a mummer.
Miming is to be distinguished from silent comedy, in which the artist is a seamless
character in a film or sketch.
The performance of pantomime originates at its earliest in Ancient Greece; the name is
taken from a single masked dancer called Pantomimus, although performances were not necessarily
silent.
In Medieval Europe, early forms of mime such as mummer plays and later dumbshows evolved.
In early nineteenth century Paris, Jean-Gaspard Deburau solidified the many attributes that
we have come to know in modern times—the silent figure in whiteface.
Jacques Copeau, strongly influenced by Commedia dell'arte and Japanese Noh theatre, used masks
in the training of his actors.
Étienne Decroux, a pupil of his, was highly influenced by this and started exploring and
developing the possibilities of mime and developed corporeal mime into a highly sculptural form,
taking it outside of the realms of naturalism.
Jacques Lecoq contributed significantly to the development of mime and physical theatre
with his training methods.
In film
Prior to the work of Étienne Decroux there was no major treatise on the art of mime,
and so any recreation of mime as performed prior to the twentieth century is largely
conjecture, based on interpretation of diverse sources.
However, the twentieth century also brought a new medium into widespread usage: the motion
picture.
The restrictions of early motion picture technology meant that stories had to be told with minimal
dialogue, which was largely restricted to intertitles.
This often demanded a highly stylized form of physical acting largely derived from the
stage.
Thus, mime played an important role in films prior to advent of talkies.
The mimetic style of film acting was used to great effect in German Expressionist film.
Silent film comedians like Charlie Chaplin, Harold Lloyd and Buster Keaton learned the
craft of mime in the theatre, but through film, they would have a profound influence
on mimes working in live theatre decades after their deaths.
Indeed, Chaplin may be the most well-documented mime in history.
The famous French comedian, writer and director Jacques Tati achieved his initial popularity
working as a mime, and indeed his later films had only minimal dialogue, relying instead
on many subtle expertly choreographed visual gags.
Tati, like Chaplin before him, would mime out the movements of every single character
in his films and ask his actors to repeat them.
On stage and street Mime has been performed onstage, with Marcel
Marceau and his character "Bip" being the most famous.
Mime is also a popular art form in street theatre and busking.
Traditionally, these sorts of performances involve the actor/actress wearing tight black
and white clothing with white facial makeup.
However, contemporary mimes often perform without whiteface.
Similarly, while traditional mimes have been completely silent, contemporary mimes, while
refraining from speaking, sometimes employ vocal sounds when they perform.
Mime acts are often comical, but some can be very serious.
In literature Canadian author Michael Jacot's first novel,
The Last Butterfly, tells the story of a mime artist in Nazi-occupied Europe who is forced
by his oppressors to perform for a team of Red Cross observers.
Nobel laureate Heinrich Böll's The Clown relates the downfall of a mime artist, Hans
Schneir, who has descended into poverty and drunkenness after being abandoned by his beloved.
Jacob Appel's Pushcart short-listed story, Coulrophobia, depicts the tragedy of a landlord
whose marriage slowly collapses after he rents a spare apartment to an intrusive mime artist.
Greek and Roman mime
The first recorded pantomime actor was Telestēs in the play Seven Against Thebes by Aeschylus.
Tragic pantomime was developed by Puladēs of Kilikia; comic pantomime was developed
by Bathullos of Alexandria.
The Roman emperor Trajan banished pantomimists; Caligula favored them; Marcus Aurelius made
them priests of Apollo.
Nero himself acted as a mime.
In non-Western theatre traditions While most of this article has treated mime
as a constellation of related and historically linked Western theatre genres and performance
techniques, analogous performances are evident in the theatrical traditions of other civilizations.
Classical Indian musical theatre, although often erroneously labeled a "dance," is a
group of theatrical forms in which the performer presents a narrative via stylized gesture,
an array of hand positions, and mime illusions to play different characters, actions, and
landscapes.
Recitation, music, and even percussive footwork sometimes accompany the performance.
The Natya Shastra, an ancient treatise on theatre by Bharata Muni, mentions silent performance,
or mukabhinaya.
In Kathakali, stories from Indian epics are told with facial expressions, hand signals
and body motions.
Performances are accompanied by songs narrating the story while the actors act out the scene,
followed by actor detailing without background support of narrative song.
The Japanese Noh tradition has greatly influenced many contemporary mime and theatre practitioners
including Jacques Copeau and Jacques Lecoq because of its use of mask work and highly
physical performance style.
Butoh, though often referred to as a dance form, has been adopted by various theatre
practitioners as well.
Notable mime artists
See also Corporeal mime
Dumbshow Floating
Liquid and digits Mummers Play
Pantomime Popping
Physical theatre Turfing
References
External links World Mime Index
International mime theatre information MOVEO International school of corporeal mime
and physical theatre in Barcelona.
International Theatre School Jacques Lecoq London International School of Performing
Arts Innovo Conservatory of Physical Theatre
European Mime Index European Network for the Promotion and Profiling of Visual Theatre