What does a mime look like? Mimes at a wedding – laughter and smiles guaranteed! Baptiste Debureau - famous classical pantomime artist

Memes with Greek language means imitation of someone. They were used by the ancient Romans and Greeks as a mass stage performance for spectators of low origin. As well as performances by acrobats, magicians, singing, dancing and real-life satirical farce. In this type of theater, actors were called mimes.

Let's look at a little history.

For the first time, mimes arose among the general public in various places in Greece. Such folk genre received literary treatment in Italy and Sicily from Greek colonists. He represented funny scenes with dialogue taken from the life of artisans and villagers. Literary treatment speaks of mass interest in the genre among various educated elites. Such spectacles could be seen at the courts of Sicilian dignitaries.

In the 4th-3rd centuries BC in Greece this type of genre developed widely. In these times, mines do not appear on stage, but are created only for entertaining reading. Not only artisans, but the highest social strata are interested in them.

IN ancient Rome mimes became widespread. Mimes flourished in Italy and Rome only as grassroots mass theater. They firmly mastered the stage by the end of the 2nd and 1st centuries. BC. Then the victory of democracy sharpened them as a weapon of class struggle. The theater was a place of socio-political satire. Memes reflected the life of small artisans, such as rope makers, dyers, etc. At the same time, they were often directed against various ruling classes (large landowners, etc.). Sometimes this was expressed in harsh satire on religion.

The traditional character for the mime was a fool, who was showered with various abuses. In the text one could find an improvised element on the topic of the day.

In the era of Caesar, the mime acquired new features. The state seeks to distract the democratic strata from the fight against the ruling classes. In this case, the memes expand into a complex representation, which is given in big theaters. Dancers, singers and trained animals performed on stage. The actors played without masks, and the actresses could be completely naked. All this was done to attract an unpretentious viewer.

Nowadays, mimes perform not only in the theater and circus. They will be able to decorate any occasion (wedding, corporate event, birthday, etc.) and make it unforgettable. If you want to plunge into the atmosphere of Paris, you can order a group of dissimilar mimes on the website of the GEFEST show company. Each artist has his own role and character, which will not let anyone get bored. Professional mimes will be a unique highlight for your holiday.

This clip of a GREAT MAN, Nick Vujicic, will allow you to look at the WORLD differently!

MIM - small form of an-tich-no-go ni-zo-vo-go te-at-ra; genre of anti-tich-noy drama;
ak-ter - is-pol-ni-tel mi-ma;
in modern te-at-re - the same as ak-ter pan-to-mi-we.

1) Small form an-tich-no-go ni-zo-vo-go te-at-ra; genre of anti-tich drama. The origins of mime go back to the 8th century BC. e.; about-is-ho-zh-de-nie mima us-mat-ri-va-yut in mi-mic dances that used to be in pre-Ri-k-lo-ni-yahs in Si-qi-lii. The written fiction of mime is associated with the names of Sof-ro-na and his son Xe-nar-kha, who co-wrote the texts for mime po-sta-no-vok.

Mim presented himself with some small-sized representations of the scene-holding on the pa-ro-diy -no-my-fo-logical or by-the-situations (bra-co-co-che-ta-nie of the gods, soup-ru-s-from-men, scenes from everyday life re-mes-len-ni-kov, etc.; ti-pic-ny mo-ti-you mock-le-niya, per-re-teasing-ni-va-niya, po- bo-ev, etc.). Mim-pro-iz-vo-dil ha-rak-te-ro-logical special-ben-no-sti of various social-ci-al-ty-pages (pas-tu-khov, earth- le-del-tsev, soldier-dat, slaves, pa-ra-si-tov, sod-ni-kov, he-ter, etc.); from-to-the-tu-ra-li-stitch-ness and scabrous humor. Mimes were composed of rhythmic prose or in the form of a pro-zi-meter; about the dialogic structure, but te-go-te-li to the mo-no-drama, in which the mo-no-log of the main character pe-re-bi-val-sya ko-rot-ki-mi re-p-li-ka-mi or mi-mimic com-men-ta-ri-em of other per-so-na-zhey.

The democracy of the mime, the simplicity of his character, and the general dullness of the language of gestures ensured him the right lar-ness in the era-hu el-li-niz-ma. Then, from the mime, you came out of the mime and began to develop the so-called pan-to-mi-ma (mi-mic dance on mythological plot). In the 3rd century BC. e. mime ut-ver-dil-sya in literature as an ethical genre: close to it are certain idylls of Feo-kri-ta and the so-called mi-mi-yam-by Ge- ro-yes - scenes from city life with the participation of two or three characters, ad-re-so-van-soon images but I listen to what I see from the plain. Then the mime appeared in Rome, where he united with the traditions of Italian musical performances. In the middle of the 1st century BC. e. mim began to crowd out the atel-la-nu on the Roman stage. De-tsim La-beriy brought into this mime personal views against modern times, and Pub-li-ly Sir - morality -th element in the form of moral-educational sentiments. The most popular genre is mime dos-tig in the im-pe-ra-tor era. At this time, mime is playing a big play (the so-called mi-mic ipo-te-za) with a za-n-ma-tel-nym, an hour for-pu-tan -in the same situation, in which the dances and ak-ro-ba-ti-ka per-re-me-zha-yut-sya in-kal-ny-mi no-me-ra -mi. For the Roman mime, the har-rak-ter-ny evil-day-ness, play on words, political all-lus-ions, adventurous, erotic and an- Ti-khri-sti-an-skie mo-ti-you. Literary mime had an influence on the Roman pal-lia-tu, sa-ti-ru, bu-ko-li-ku, novel (the influence of mime on the formation of the ancient non-at-tic comedy-media not up-to-ka-za-but).

They used half-nor-those mimes at first, but-si-li-zoo-morphic masks, but over time they got rid of their use - use; for the first time in the an-tich-nom te-at-re at-ob-re-la meaning of mi-mi-ka ak-ter-ditch. Along with the absence of ma-sok, ko-tur-nov and cho-ra, especially-ben-no-st mima was the participation of women-ac-tris (by- whether the memes are “male” and “female”). Sna-cha-la mim is-pol-nya-li bro-dya-chie ak-te-ry - fo-kus-ni-ki, ak-ro-ba-you, zhong-le-ry, you-stu- fallen on wooden bridges; from the 4th century BC e. - professional troupes who have staged mime performances not only in urban and rural squares, but also in private do-mah and in re-zi-den-tsi-yah pra-vi-te-lei. In Rome, the st-nov-ki mime was performed on the stages of city theaters and sub-si-di-ro-va-lis go-su-dar-st-vom; due to the complex stage design and the unlimited number of actors; they often involve children and trained animals. Despite the fact that the Ak-Tyo-Rim of the Church (452 ​​AD) and the ban of the Emperor

Story

Antiquity

Having originated among the broad masses in various places in Greece, this folklore genre first received literary treatment from Greek colonists in southern Italy and Sicily; these were funny scenes with lively dialogue, snatched from the life of small artisans, villagers and layers close to them (compare the titles of the Mimes: “The Fisherman and the Villager”, “The Darners”, etc.); their literary treatment shows the interest of the educated elite in this mass genre (it was not for nothing that such spectacles were accepted at the courts of the Sicilian “tyrants”). This genre developed widely in the Hellenistic era of Greece in the 4th-3rd centuries. BC. At this time, mimes were created not for the stage, but only for entertaining reading and entered the orbit of interests not only of craftsmen, but also of higher social strata.

Mimes - Pantomime

A specialist mimographer was Gerond (or Herodes), who wrote in “Holyambas” (part of his Mimes was found in Egypt in).

If in Gerrond the class sharpness of the Mimes seems to be blurred, then in other mimographers of this period the mimes clearly turn into a weapon of struggle against the ruling classes (parodies of the pathos of the tragic style, religion, even ridiculing the life of monarchs, for which, for example, the mimographer Sotad paid with his life ).

Mimes also became widespread in ancient Rome. Having long flourished in the south of Italy and existing in Rome as a grassroots mass theater, mimes firmly captured the stage by the end of the 2nd and 1st centuries. BC, when the victories of democracy sharpened them as a weapon of class struggle, making the theater a place of socio-political satire. Literary adaptations of the Syrian slave Publilius and Decimus Laberius (1st century BC), who was patronized by the democratic dictator Julius Caesar, are known. Reflecting the life of small artisans (dyers, rope makers, etc.), these memes are often directed against the ruling classes - large landowners, etc. - sometimes with sharp satire on religion. The most obscene stories were prevalent here. The traditional character of the mime was a fool, showered with all sorts of abuse; an improvisational element on the topic of the day often burst into the text. As a class genre of the lower classes, the Roman mime was written in the language of these layers with all the vulgarisms and slang of city taverns. In the 1st century BC, mime began to supplant “atellana”.

New features characterize the mime in the era of Caesarism. Under the auspices of the state, which seeks to distract the democratic strata from the struggle with the ruling classes, mimes expand into a complex performance, the so-called “mimic hypothesis”, which is given in large theaters and subsidized by the government. These “hypotheses” were deprived of the former class emphasis of the mimes; it was an ultra-naturalistic adventure drama written in prose mixed with poetry with transformations, various miracles, imbued with crude eroticism and other means to attract an unpretentious viewer. Singers, dancers, even trained animals performed here; the actors (unlike the “Atellans”) played without masks, the actresses often performed completely naked, thereby subsequently causing attacks from Christian writers.

Medieval and Renaissance period

The grandiose social cataclysm of the 5th century AD, which put an end to the existence of the Roman Empire, did not entail the disappearance of the Roman mime. Its history continued in subsequent centuries, marked by the transition from the slave system to feudalism, from ancient “pagan” culture to medieval Christian culture. But the residual forms of the Roman mime received a qualitatively higher quality in the new social situation. new character. As the former Roman Empire intensified its “barbarization”, expressed in a “reverse” movement from complex system barter economy to simple forms natural economy, the material prerequisites for the existence of the mimetic hypothesis, this last great theatrical genre antiquity. Roman actors, adapting to new economic and social conditions, spread throughout the “barbarian” countries, returning to their original vagrancy. Through them, the deformed remnants of Roman mythology seeped into the lower strata of the urban and rural population and were assimilated into peasant folklore, in which they discovered extraordinary stability.

Modern Mimes

  • Vahram Zaryan / (fr. Vahram Zaryan ) - France

Vahram Zaryan spectacle ILYA

  • James Thierry / (fr. James Therree ) - Switzerland

James Terry / James Therrée 2010

Criticism of Emil Reich's theory

At the same time, the traditions of Roman mimes were undoubtedly combined in the new barbarian countries with the art of local German buffoon singers, ospreys or glimans. It was only as a result of the assimilation and processing of the “cultural heritage” of Roman mimes by the native buffoons that juggling, typical of the feudal Middle Ages, was formed, which finally took shape by the century. and used the experience of Roman mimes in a processed, “removed” form, and not by directly transplanting it onto the socially and ethnically completely alien soil of the Romano-Germanic states.

This information is sharply opposed to the well-known theory of the German scientist Emil Reich (German). Reich, Emil), which derived directly from the Roman mime all the folk-comic creativity of the medieval and new Europe, as well as Asia and Africa. Seeing in mime the original grain of the comic image everyday life, the same in all countries due to the homogeneity of life of the social lower classes that generate it, Reich argued that this folk-comic element underlies the entire world drama, since it is not “classical,” that is, not based on conscious imitation literary drama antiquity.

Socialist theory

According to this theory, the mime has an undoubted resemblance to both the medieval farce and the “Learned Comedy” (Italian: commedia dell’arte). In both cases, we are dealing with socially heterogeneous phenomena: if the medieval farce was generated by the social practice of the lower classes of feudal society, then the commedia dell’arte formalizes the ideology of the ruling class. Hence the different nature of the connection between these genres and memes. In the first case, the creators of the farce - artisans of a medieval city - used for their amateur comedy creativity traditional technique buffoonish actions that absorbed " cultural heritage» Roman mimes; At the same time, some elements of mimes penetrated the farce from medieval peasant folklore, where they were introduced by the same jugglers of the early Middle Ages.

In the second case, in “commedia dell'arte”, there is not a spontaneous penetration of folklore play elements into comedy, but the conscious use of these elements by aristocratic artists for the purpose of stylizing “folk” comedy, a use permeated with a tendency to master ancient genres to satisfy their ideological requests. “Commedia dell’arte” is guided by atellana and mimes no less consciously than “scientific” comedy was guided by the plays of Plautus and Terence.

Bibliography

  • Veselovsky A. N. Ancient theater in Europe. - M., 1870.
  • Gvozdev A. A., Piotrovsky A. I. History of the European theater - M.: - L.: 1931.
  • Magnin C., Les origines du théâtre moderne, v. I, 1838;
  • Petit de Julleville L., Les comédiens en France au moyen âge, 1889;
  • Allen P. S., The medieval Mimus, “Modem Philology”, 1910, VIII.

See also the bibliography for the article “Commedia dell’arte”

see also

  • Ancient theater

Links

Notes


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  • Hyphenation (typography)

See what “Memes” are in other dictionaries:

    Memes- (from the Greek “imitation”) the ancient Greeks and Romans had all sorts of stage performances of a mass nature in the taste of spectators from the lower strata, performances of acrobats, magicians, etc., scenes with singing and dancing, and finally a whole real everyday... ... Literary encyclopedia

    MEME- (Greek mimos, from mimeomai I imitate). An ancient Greek farce for which the author gave only one theme, and the actors had to improvise the details themselves. Dictionary foreign words, included in the Russian language. Chudinov A.N., 1910. MIMS 1)… … Dictionary of foreign words of the Russian language

    Memes- MIMEs are a type of comedy among the Greeks and Romans. Memes arose from folk art and first presented improvisations (see this word). The subjects of mimes were usually events of everyday life (adultery, fraud); famous Roman... Dictionary of literary terms

Pantomime is a theatrical performance in which characters express themselves not in words, but in facial expressions, gestures and plastic movements

Features of pantomime

Pantomime just like all other forms of art, it reflects life in artistic images. But at the same time, pantomime occupies its own special place among the performing arts and has its own specific means of expression. You can't confuse her with anything drama theater, nor with ballet, although in some ways she is similar to them. What do the works of a mime and a drama artist have in common? First of all, they are subject to some general laws of acting. There are many similarities in the method of creating an image. The ultimate goal is the same - an emotional, targeted impact on the viewer. And yet drama and pantomime are different. The dramatic actor acts primarily with words, while the creativity of the mime is silent. As you know, ballet dancers are also silent. Both the dancer and the mime “talk” in the language of plastic movement. Doesn't this mean that the essence of their creativity is the same? No, There are many more differences between ballet and pantomime than there are similarities. Ballet is impossible outside musical images, without corresponding dance movements. In pantomime, the action, as a rule, is free from musical size and rhythm. Pantomime is often performed without music at all. If music becomes a necessary component of one or another pantomimic action, then it plays not a main, but a subordinate role in it.
So, we see that pantomime differs significantly from both dramatic and ballet theaters. And it differs primarily in the way it expresses its ideas. For a mime, a silent plastic action -
the main means of expression in creating artistic images. Continuation

Exaggeration is a feature of pantomime

Condensation and concentration of action are characteristic of the entire structure of pantomime. The actor’s gestures and facial expressions can also be emphasized. They will not look deliberate when the performing technique is high enough. The mime constantly resorts to exaggeration for the sake of greater expressiveness of the action and artistic characterization. Such exaggeration is also characteristic of caricature. It is interesting to note that a cartoonist becomes a true master of his craft only when he has mastered the technique perfectly. regular pattern. The same can be said about the pantomimist: the use of the technique of artistic exaggeration requires him to specially develop the plastic expressiveness of the body. Comprehensive preparation for independent creativity will give the mime the right to freely resort to exaggeration without the risk of falling into cheap play. It is extremely important to take this into account because pantomime, by its nature, belongs to one of the most conventional arts. And the more conventional the art, the more technical skill it requires. Details as well prerequisites pantomimes

The great mime Marcel Marceau

Marcel Manguel (stage name - Marcel Marceau) was born on March 22, 1923 in France. He was a recognized master in the art of pantomime. Over the past years, his tours have included countries and cities on five continents. He acted in films quite a bit. Marceau opened his own school in France, and the Marceau Foundation to develop pantomime in the United States. He is an elected member of the Academy of Arts in Berlin, the Academy of Arts in Munich, fine arts in France. Died in 2007 Details

MARCEL MARCEAU Tribute 1923-2007

1 video

Marcel Marceau - French Charlie Chaplin

Marcel Marceau was called the French Charlie Chaplin. Marceau gained worldwide fame by creating the image of Bip in 1947, a white-faced clown in a striped sweater and a tattered hat. His productions, many of which became classics, were performed at the best sites, including the Sarah Bernhardt Theater and the Théâtre des Champs-Élysées.

Marcel Marceau

1 video

Mime Festival dedicated to Marcel Marceau

07/30/2008 opened in the French town of Perigs International festival mimes. It is held for the 26th time and is dedicated to this year the famous French mime Marcel Marceau.
Marcel Marceau died a year ago at the age of 84, having dedicated more than 60 years of his life to his profession. In honor of Marceau, the play “Child of Paradise”, staged by his students and associates, will be shown. As part of the festival, an exhibition of sketches for pantomime performances is presented. Details

Baptiste Debureau - famous classical pantomime artist

French mime actor. Born into a family of traveling acrobats. In 1819 he played the role of Pierrot in the pantomime “Harlequin the Doctor”, creating an image that gained wide popularity and became popular comic hero. Relying on the buffoonish tradition of the “grassroots theatre”, Deburau Jean Baptiste Gaspard revolutionized pantomime, brought it closer to modernity, and filled it with more content. Debureau Jean Baptiste Gaspard also changed the appearance of the hero, introducing a costume (long white trousers, a spacious calico blouse, a smooth black headband), which later gained worldwide fame. Details

R. Slavsky The art of pantomime

The ancient art of pantomime - the art of talking about a lot without saying a word - is now experiencing its second youth. More and more amateur studios and pantomime groups are appearing in our country.
The author of the book, the director and teacher of pantomime studios R. E. Slavsky, talks about the specifics of this shkusov, introduces expressive means pantomime and the principles of constructing its libretto.
The book contains rich material for educational and training sessions, which help develop the necessary technique and instill the skills of independent creativity. Not only future mimes, but also representatives of related arts - amateur actors of drama, cinema, ballet, circus and stage will find a lot of useful information on its pages Practical mastery of specific pantomime techniques will allow them to further develop facial expression and body plasticity. Book text

Pantomime lesson

1 video

Pantomime lesson "rope No.2"

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Annual pantomime festival in London

The best theatrical works, selected special jury, interesting program, magnificent plastic talented actors- all this makes the London festival one of the most influential in the world in its field of art. The international festival of pantomime and clownery Mime dates back to 1977. Every year it attracts many spectators. Official website of the festival

International Mime Festival in Chuncheon (South Korea)

International Pantomime Festival in Chunchon. Photo

Humorous duet "Girl and Hooligan"

He is Igor Golubitsky, laureate of the All-Union Variety Artists Competition, laureate All-Russian competition pop artists, winner of the gold medal "Property of Russia". Mime, clown, step dancer, teacher, choreographer.
She is Evgenia Kuznetsova, pantomime actress, clown, and duet administrator.
Read more about this duet and their numbers

On the streets of large cities, and not only large ones, you can often meet unusual and funny street performers with white faces, dressed in striped vests. These artists are mimes. They are somewhat similar to clowns, but the genre of performance is completely different, and is called pantomime. To understand who a mime is, it’s worth delving a little into the history of this unusual art.

History of pantomime

This is a variety performing arts, which has its roots in ancient Greece and Rome. In this type of genre artistic image conveyed by the artists without words, only with the help of body plasticity. The understanding of who mimes are in that era and in our time is significantly different. The Greeks and Romans called street performers who gave public performances mimes. The theater included acrobats, magicians and other actors who depicted scenes from Everyday life townspeople and accompanied them with singing, dancing, and satire.

After the fall of the Roman Empire, the culture of the region was influenced by medieval Christians. However, mimes did not disappear, but only transformed into a more acceptable genre. Their Street art mixed with the traditions of German buffoons and peasant folklore. Later, aristocratic artists adopted this art, transforming the medieval satirical farce into a sophisticated classical comedy.

In the 19th century, pantomime moved from the streets to theater stage, and the question "Who is a mime?" got a new answer: theater actor With good education and preparation. In countries Soviet camp, where plastic art was presented only classical ballet, permitted by the Communist Party, pantomime quickly became popular. However, in the countries of Europe and America, theatrical pantomime remained practically unclaimed: many choreographic theaters in these countries filled the niche of plastic art.

Pantomime actors

Who is a mime? A pantomime actor who expresses emotions and feelings through body movements and characteristic plasticity of the hands, exaggerated facial expressions. To better convey emotions, artists cover their faces with a kind of makeup. With the help of these techniques, a single actor is able to play out a complex plot and touch the subtle emotional strings of the audience. Mimes often give simple performances that even young children can understand. In this case, pantomime is very similar to clownery, but all actions are performed absolutely without words. The most famous mimes: Charlie Chaplin, as well as the characters Pierrot and Harlequin.

Mime image

The easiest way to determine who a mime is is from a photo. The actor's face is hidden under a thick layer of makeup; the traditional outfit consists of a vest, a red neckerchief, a hat or beret. Mimes often wear a jacket to imitate Charlie Chaplin. However, there is another style. Its representatives do not adhere to a standard image, do not use makeup and dress in free costumes in order to avoid the stereotypical attitude of the audience. What remains unchanged is the unsurpassed art of pantomime and the silent but extremely emotional performance.

How to become a mime

A professional mime is an actor who has received appropriate education and has dedicated his life to the pantomime theater. However, every person can discover their talent and learn this amazing art in order to entertain relatives or friends. First you need to apply makeup. Cover your face with a white tone, highlight your eyes and eyebrows with a black pencil, and line your lips with red lipstick. This kind of makeup is necessary in order to give the image certain character traits. In performance, mimes depict scenes with invisible objects, for example, a wall - this is one of the most famous techniques.

So, who is the mime? Professional pantomime theater actor. Mimes should not be confused with clowns, since these two various types art.

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