Pure Mime of Etienne Decroux
-
Upload
florin-stoian -
Category
Documents
-
view
41 -
download
0
description
Transcript of Pure Mime of Etienne Decroux
-
G. Kelley [email protected]
Grace KelleyMovementProf. Charlie OatesSp. 08Final paper
The Pure Mime of Etienne Decroux
Etienne Decroux, the father of modern mime, like many paternal owners of a
developmental technique, has become practically forgotten in relation to his protgs that
have followed. And like many paternal developers of art forms Decroux dedicated his life
to his art, to experiment, explore, create, and live it. He did not do it for the money, or for
the global success. Indeed, Decrouxs work and performances were staged with
discretion, they even were privatised, the audience consisted of his own students and
some close friends in the basement of his house, The separation between skilled
performer and non-skilled spectator that characterizes most European theatre [was]
absent.1
Decroux developed a unique concept of what mime meant in the twentieth century.
For him, mime was not about entertainment; he had an aversion to pantomime. His work
and his practice was what is most commonly described as militant. He believed in the
Renaissance custom of mentor and apprentice; to have students who would not just learn
all they can, but continue in their profession by staying with him, whereby, after several
years of experience they would earn the title of ancien (Sklar, 74). Decroux held a
1 Sklar, Deidre, Etienne Decrouxs Promethean Mime, The Drama Review, p. 73, Vol. 29.
1
-
G. Kelley [email protected]
hierarchical system among his students, or apprentices, and rank depended upon both
skill and promise, which includes seriousness about studying, respect for Corporeal Mime
and a strong and graceful body, (Sklar, 74).
For Decroux, his goal in mime was not solely to replace gestures instead of speech.
On the contrary, he wanted to achieve drama inside the body by finding the purity of
execution (Sklar, 64), and ridding the body of external influences and gestures.
It is difficult to distil Decrouxs work into a single definition, as his work was
innovative, and thus developed over time, but from an actors point of view I would like
to try and capture the essence of Decroux and his aim and expectations from his students.
By researching this, I hope that it will become more evident when looking at
contemporary performance art, street art, and mime, where the remnants of his work lie.
I have already mentioned Decrouxs belief of purity in execution. He had a high
standard for himself, as director, and for his students. Thomas Leabhart writes, Decroux
could not direct ordinary actors who had not undergone rigorous and transformative
training in Corporeal Mime.2 It was only possible to have trained with Decroux in order
to achieve this essence of purity as a performer. I will explain the four quintessential
practices Decrouxs students underwent as part of their rigorous training.
1.) Claiming the right to rebel against the limitations of the body and against
socially accepted aesthetic images.3 This is the key to his Promethean art, not to want to
2 Leabhart, Thomas, Etienne Decroux, p. 76.3 Sklar, Deidre, Etienne Decrouxs Promethean Mime, p. 65.
2
-
G. Kelley [email protected]
stay the way you are, but to become the way you desire to be. 4 The student learns to free
the body, just as the mind is free already. It is the beginning of the concept of finding the
drama within the moving body, as opposed to reverting to the use of gestures or speech.
See image 1.
Image 1. A Decroux performer.
2.) The trunk of the body is the primary, most important tool for the actor. It is the
trunk that is the largest and most difficult part of the body to articulate, that expresses
what is universal.5 It is the largeness of the trunk that allows for this universal
understanding, for although the movements are not as elaborate as the hands, they require
a lot of precision in exemplifying the differences between each move. It should also be
noted that hand gestures and facial expressions vary in different countries, carrying their
4 Ibid, p. 65.5 Ibid, p. 71.
3
-
G. Kelley [email protected]
own connotations, but the trunk of the body seems to carry fewer specific suggestions
that could be created by culture and society, hence this idea of the universal.
3.) With the use of the trunk of the body comes the elimination of the hands and
face. Looking at the figure in image 1., he is masked by a white cloth. This prevents any
suggestions of expression through the face, even instead of face paints or a faced mask.
Decroux intended for the facial expressions to be suppressed for he believed that an
actors personal nature manifests itself in their personal expressions.6
4.) After ridding his performers of facial expressions and hand gestures, Decroux
sought to eliminate personal idiosyncrasies. According to Sklar, the actor whose actions
[were] based on impulse or emotion [was] embarrassing or ridiculous to Decroux.7
Idiosyncrasies prevent the actor from achieving this universal expression, they become
traits of the actor who cannot rid himself of them. By acting impulsively on emotions, the
face, almost by reflex, reacts too. Again, looking at image 1., this mask is not only to
prevent the viewer from focusing on the actors face, but it also gives the actor the
freedom to focus on the trunk of his/her body by not having to think about neutralising
their face.
* * *
The contribution of the Mime? In less time than it takes to write about it,
eliminating props and settings, the Mime carries us from one place to another. With a
minimum of gestures, it offers a maximum of expressions. Its substitute images
6 Sklar, Deidre, Etienne Decrouxs Promethean Mime, p. 71.7 Ibid, p. 71.
4
-
G. Kelley [email protected]
immediately adhere to the scenic scale. The Mime is in keeping with the grand style
through which the Moliere of the Comedies, the Amusements, and the Farces alone
in France raised the Theatre to new heights.
(Jean Dory, The Mime)
Keeping with the purity of execution that Decroux wished to achieve, not only did
he focus on the body but the external elements too. Furniture and scenery were
eliminated, for they obstruct.8 Considering Decroux did not perform for large
audiences, nor did he choose for his art to be entertainment, the use of a set naturally
seemed ineffectual. Costumes were considered portable scenery, hence, an obstruction
too. As you can see in image 1., the actor is wearing minimal clothing. This is so that he
will not rely on his costume as a crutch or let it become codified with denotations,
creating the basis for a character before the actor need do anything at all. All expression
is to come from the body. As for props, Dorcy explains that, The more props an actor
handles, the less he is likely to be particular about his actingThe idea here is to avoid
such use, to show the object so that it becomes unnecessary to use it.9 Props can be a
distraction for the performer, but also for the viewer. It can be difficult to not let the prop
become the lead character in a performance, and it can be even more awkward to have a
prop on stage that is not being utilised. To prevent the actor from feeling compelled to
use it, resolution get rid of it. And finally, lighting. According to Dorcy, The purpose
8 Dorcy, Jean, The Mime, p. 82.9 Ibid, p. 83.
5
-
G. Kelley [email protected]
of lighting is to obscure.10 Lighting is almost like a metaphysical mask for the actor. It
can disguise, hide, or highlight. It can also set a scene, creating ambience; it can be full of
connotations and subtle expressions to aid the actor. But by eliminating it from a
performance the actor is forced to focus on him/herself alone, just like when wearing the
cloth-mask. They have to create the ambience through their physicality; they must find
the drama within their bodies. A Decroux performer is literally stripped bare of any
external aides.
This style of mime seems to be the equivalent of diving straight into the deep end
not knowing how to swim. This method forces the actor to find the purity of mime that
Decroux is looking for, which truly seems to be the essence of his teachings. From an
actors point of view, and being an performer myself, I feel that although it is an arduous
and lengthy training, the challenge is not only extremely physical, requiring the utmost
precision, but mentally too. The actor must deconstruct his/her emotions, impulsive
reactions, assumptions about mime, and reconstruct their knowledge and training into a
pure execution of a performance. The face must no longer be part of the character, the
hands are not allowed to express and gesture. The suppression of what would normally be
considered an initial reaction must be retrained to withhold.
I feel that the most demanding element of Decrouxs practice is the requirement to
find the drama within the moving body. We must bear in mind that he insists upon the
elimination of emotions too, for he finds them ridiculous. This is not a Stanislavskian
10 Ibid, p. 83.
6
-
G. Kelley [email protected]
method, to find the emotion from within. It seems contradictory and paradoxical to
demand for emotions to come from within, and yet not from within. I believe that that is
where the task of isolating the mind from the body and vice-versa comes into play. The
actor must learn to distinguish finding his/her drama physically rather than mentally,
otherwise emotions can intervene. It may seem like an incomplete concept, but Decroux
admits to his students, I think that an art is complete only if it is partial.11 A
contradiction, yet it has sense to it. In order for art to be complete, it must simply be to
begin with. In other words, art is not the final product, but the process too, and perhaps,
more so in the process than the product, for in the process there is creation, innovation,
and exploration.
It is Decrouxs innovation that has prolonged his work. He once said, Mime is
superior to sculpture for there is greater immediacy between the thought of the artist and
its product.12 One may argue over the superiority of mime over sculpting, however this
connection between mime and sculpture sparked a new wave of performance, street art.
In every Western cosmopolitan city it is difficult not to find mime artists performing on
the streets, only they are not performing a routine or sketch. Instead, they take on the
form of a real-life sculpture. During the times they are motionless, they are flawlessly
still. Then when they are tipped by a passer-by, they come to life. Here their movements
are refined, delicate, and well processed. Depending on what type of a sculpture they are
portraying, their actions relate to it. Arguably, this is the element of superiority that the
11 Decroux, Etienne, Words on Mime, p. 28.12 Decroux, Etienne, and Weill, Etienne, Bertrand, "Sculpture", Mime Journal, # 21.
7
-
G. Kelley [email protected]
mime possesses, for the artist is the product. Throughout Europe, particularly Paris, these
sculpture performers are speckled throughout the streets. Two notable artists that have
become a success over the last four decades with their performance art are Gilbert and
George, the double act. They are by far the best example in todays performance art,
street theatre world where we can see elements of Decroux continuing on.
His teachings are still prolific throughout Europe too. There are many schools that
practice and teach his technique, for it is still considered worthy training for any actor.
However, since his death, like most acting techniques, there has been some dilution and
extended development placed upon Decrouxs teachings, mostly by his past anciens and
apprentices. But the essence of Decroux will not be forgotten or phased out. It is so raw,
so bare, that it is almost isolated from other mime techniques. The emphasis of strictly
movement within the body, eliminating any external influence is so precise and isolated,
it would be difficult to create a new practice of a purer essence. Decroux truly achieved
this purity in execution in his work.
8
-
G. Kelley [email protected]
Bibliography
Decroux, Etienne, and Weill, Etienne, Bertrand, "Sculpture", Mime Journal, # 21, 2000-2001.
Decroux, Etienne, Words on Mime, trans. Mark Piper, Gallimard, (Paris: 1977).
Dorcy, Jean, The Mime, trans. Robert Speller, Robert Speller and Sons, Publishers, Inc. (New York: 1961).
Leabhart, Thomas, Etienne Decroux Routledge, (New York: 2007).
Sklar, Deidre, Etienne Decrouxs Promethean Mime, The Drama Review, Vol. 29, No. 4, Winter, 1985.
9