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8/10/2019 Pantomime and Mime
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Pantomime and
Mime
8/10/2019 Pantomime and Mime
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Objectives
To master the basic principles of pantomimeand apply them to common stage actions.
To recognize and practice conventional
mime actions and exercises
To use facial expressions and gestures to
enhance a characterization
To differentiate between mime and
pantomime
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Focus Activity
Two volunteers
Demonstrate ways to express to partner
the following ideas without saying a word:
Everything is O.! "lease# help me out here.!
Don$t say another word.!
% haven$t a clue.!
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Basic Pantomime
Movements
&uch of our daily communication is nonverbal#yet when inexperienced actors perform onstage#
they tend to rely mainly on their voices to
communicate with the audience.
'ince physical actions# not words# are the basisof most characterizations# the art of acting without
spea(ing is the first phase of training as an actor.
)ny exercise that develops physical coordination
is valuable in preparing to perform: *encing# dancing# sports# wal(ing and climbing stairs
+elps to develop a talent for moving your body as a whole
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Body Language The top of your head to the tips of your fingers and toes
are all expressive# and not in the way you might desire.
,sually the world will ta(e you at your face value! -ou are udged first by your appearance and manner and later
by what you say and how you say it.
'trong/willed and confident 'hy and retiring
'tands tall
,ses broad# emphatic gestures
&oves with authority and self/
assurance &a(es 0uic(# definite movements
Directs actions away from the body
'tands timidly# drawn in as if forprotection
,ses small# wea( gestures
&oves slowly# with limitedmotion
Directs actions down andtoward the body
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Posture -our posture is fundamental to
your health and personalappearance
1ood posture carries an air ofconfidence# maturity# andsuccess while poor posture
suggests wea(ness# lac( ofpoise# and insecurity
*irst# visualize someone whotypically has good posture asyou try this exercise
"osture Exercise
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How to Walk Onstage &aintain good posture eep shoulders s0uare
and chest high eep axis of your body
directly over your feet Thin( tall! &ove straight ahead
with weight on balls offeet
&ovement should beeasy# poised and
rhythmical 2al( in a straight line 3et body swing easily
from hips
3et arms swing in easyopposition to your legs
Turn by rotating on balls offeet# shifting weight fromone foot to another
Turn your entire body#
including your head Do not turn on your heels )s you turn# do not cross
one foot over the other )void plodding or long
strides or tiny steps Do not habitually loo( at the
ground as you wal(
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How to sit onstage
3ocate out of the corner of your eye the chair in which you will sit Decide the best route to the chair that you will occupy 2hen you arrive# turn so that the calf of your leg touches the chair.
Then place the calf of the other leg against the chair and sit. 2hen sitting# (eep the bac( of your spine at a 45 degree angle to the
seat.
-our hands will ordinarily rest in your lap or on the arms of the chair. 6rossing your arms restricts your breathing and ma(es you loo( tense -our feet may be crossed at the an(les# or one foot may be placed
slightly in front of the other. Do not cross your legs# spread your feet apart# or rest your hands or elbows on
your (nees unless you are conveying specific moods from your character %n rising# let your chest lead# not your head. eep your weight
balanced on the balls of your feet# placing one foot slightly forwardand using the rear one as a lever in pushing yourself up. Ta(e a deepbreath while rising.
7ever hold onto the arms of the chair or push yourself up from them unless yourcharacter is elderly or wea(.
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Crossing !urning andFalling
2hen entering# lead with foot farther fromaudience as it helps (eep your body facing theaudience8
when you stop# stop with the upstage foot forward )ll turns are made to the front# rotating on the
balls of your feet *alling Onstage
Divide your body into segments 9 head# torso and arms#hips# thighs# and legs 9 and lower each segment to thefloor
6ontrol your body8 you should be very close to the floorbefore you actually fall! )bsorb the fall with the soft parts of your body 9
forearms# thighs# legs 9 rather than the body proections9 elbows# hipbones# (nees
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"estures
The movement of any part of your body tohelp express an idea or an emotion is
called a gesture
Two (inds *acial expressions
+and and arm movements
'e0uence of facial expressions 9 begins
with eyes# then mouth# then other facialfeatures
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Facial #$%ressions 'urprise
Eyes widen rows lift &outh opens into
an O +appiness
Eyes s0uint
rows lift &outh curves up#
sometimes withlips parting
'adness Eyes narrow and
lids drop
Outer brow turnsdownward
&outh turns down *acial muscles
sag
)nger Eyes narrow considerably rows furrow &outh twists downward 3ips sometimes curl out
and down into a sneer ;aw drops and sets firmly
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Hand and Arm "estures
)lmost every body movement begins with the
chest through your shoulder# elbow# wrist and
slips off! at fingers
6urled fingers or stiff fingers ma(e the gestureineffective
Every gesture must have a definite purpose. %f
there is no purpose# there should be no gesture
'ole purpose is to emphasize or clarify a thought orfeeling
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Princi%les o&
Pantomime Techni0ues of pantomimeare based on what human
beings do physically in
response to emotional
stimulation# other peopleand the obects around
them.
The richest source of
authentic material for
pantomime is carefulobservation of people in
daily life
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Princi%les o& Body
Language. -our wrists lead most hand gestures
?. &ove your elbows away from your body whenma(ing arm or hand gestures
@. Except on specific occasions# do not gesture aboveyour head or below your waist
A. Opposite action emphasizes physical movement
B. )rms and hands should move in curves# notstraight lines unless you are deliberately trying togive the impression of aw(wardness# uneasiness#force or strength
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Princi%les o& Body
LanguageC. "ositive emotions# such as love# honor# courage# and
sympathy are evidenced by a high chest and head#free movements# broad gestures# and animated facialexpressions
4. 7egative emotions# such as hate# greed# fear# andsuffering# contract and twist the body and are
evidenced by a sun(en chest# tense movement#restricted gestures and drawn features
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'tandard Pantomime#$%ressions Exercises
ody as a whole *eet and 3egs +ead and *ace *ingers and +ands
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C(est
6hest raised "ride# sophistication#nobility# or confidence
6hest pushed forward
dramatically
)ggressiveness#
determination
6hest sun(en inward 2ea(ness# old age#shyness# exhaustion
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Face and Head
Open# upturned lips8 2ideeyes8 )rched brows8 aised+ead
+appiness# surpriseddelight
Down/turned mouth8 narrow
eyes8 head forward
)nger# threat
&outh straight line8 eyes
wide8 eyebrows arched8head raised and to the side
3istening# attentive#
curious
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Legs and Feet
One leg crossed overother with body leaning
elaxed# casual# orsometimes arrogance
*eet turned in or oneleg bent behind theother
'hyness# timidity
*eet apart# legs straight 'trength# confidence
add head held high andhands on hips F scorn#threat# contemptG
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Arms and Hands
6lenched fists )nger# threat# forced control
"alms down eection# demanding# denial# fear
"alms up )cceptance# pleading# sympathy
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Pantomime and Objects
"ortraying the size# shape# weight#resistance# texture# placement andcondition of obects is an important part of
pantomime 2henever possible# ma(e evident to your
audience the exact details of an obect 2hat size is itH
2hat is the shapeH +ow heavy or light is itH 2here is it locatedH
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#$ercises)
low up an imaginary balloon# showing itschanging size
1o into an imaginary movie theater and
purchase popcorn and a soft drin(. 6rawl
over five people to get to your seat. Do not
spill your popcorn or soda on them.
2al( an imaginary dog. Determine the size#
weight# and temperament of the dog. )s youwal( along# the dog stops# and you attempt to
move it.