Mime corporel dramatique
The Mime corporel dramatique is a comprehensive body theater technique developed by the French actor and pantomime Étienne Decroux .
It differs significantly from the classic pantomime (also called illusion mime ), as we know it from Marcel Marceau , for example . Instead of using illusions and imaginary objects, the Mime corporel focuses on the inner happenings of a person, his thoughts and feelings. It is therefore usually more abstract than realistic and resembles gestural theater or dance far more than what is commonly understood as pantomime. Decroux (who viewed classical pantomime with suspicion) saw his theater concept more closely related to the arts of sculpture, poetry and music.
The Mime corporel is based on an extensive study of the isolation possibilities of the individual body parts as well as the rhythm of a movement and the causal connection of several with each other. Less considered but all the more fundamental is the investigation of how humans deal with the constant influence of gravity, be it during heavy physical activity or when handling objects of light weight. In addition, Mime corporel has set itself the task of “giving weight” to internal processes of a person, his thoughts and feelings, in order to make them visible to the outside world. The main focus is always on the physical effort, the muscular game, the subject; Objects, imaginary objects and space are only treated in a subordinate manner. The trunk of the body therefore has a clear preference over the arms and legs, grimaces are alien to the mime corporel.
Decroux was very much inspired by the sculptures by Auguste Rodin , and his theatrical art is sometimes (except for the shame) naked. Often the face is also covered to emphasize the sculptural character. Decroux called a part of his theater form “la statuaire mobile”: “the moving statue”.