Tim Settimi
Acknowledgment: Claude Kipnis' The Mime Book, Jay Torme
(my teacher), Mimi Tyrell, Paul Gullan, and all the dancers,
mimes, teachers, and students who have shared insights
through the last twenty years.
Definitions
Mime is an art. Mime is a craft. Mime is movement as
complex as moonwalking, or as simple as nodding one's head
to say yes. Often I've heard mime defined as non-verbal
communication. (a negative term) I prefer to define it simply:
Mime is visual communication.
As an art it is an artist's expression of the world that surrounds
us. As a craft, it is a skill that has to be practiced. Mime
technique, while fairly simple, if done sloppily can be
confusing and lose its audience completely. Mime is a
thoroughly engaging art. You can't watch it without becoming
actively involved, whether you want to or not. The mime takes
the viewer's imagination and makes it concrete.
Tools of the Trade
Your body. That's it! As in any other craft one must be
completely familiar with the tools: what tool is appropriate for
each task, how they work, and what are their limits. So, in
mime we break down the body into segments, examine the
mechanics of muscle and bone, the different movements each
joint is capable of, and the limits to that particular movement.
hips
are the head (skull), the chest (rib cage), and the hips (pelvis),
leaving the neck and stomach as flexors. These body centers
are the most communicative of segments and are the roots of
what I call the articulators, those parts of the body that are
even more communicative, namely the face, the hands and the
legs. Emotion, manipulation and locomotion. More about
body centers later...
For now I must stress the importance of exercises based on
inclination, rotation and transtation. Repetitive and mundane
as this kind of physical bodywork is, there is no substitute
when it comes to finding the muscle groups and making their
implementation second nature. You have to teach capabilities
and limits.
The Raw Materials: Movement
Mime technique is all about the movement and manipulation
of space. A performer focuses the viewers imagination armed
with nothing more that a gesture. Since we know what the
tools are, it seems natural to examine different ways they
might be used. (You don't swing a hammer the same way
putting up a picture as you do building a house.) Here are
some more arbitrary labels I use to get a handle on a concept
like the qualities of movement.
FLICK a quick, short, undirected movement, a shudder, a
spasm
DAB also quick and short but direct; a jab
PUNCH a bigger, heavier direct move
PRESS a punch with resistance; isometric
WALTZ rythmic, usually involving undulations, lyrical
space.
It must be stressed that the dynamics between the isometric
tension in the hand and its relaxation makes the wall more
tangeable even as physical contact is broken.
That is, the more mass the more of the body is affected. The
smaller the object, the less contact is needed:
By cocking a pinky the tea cup becomes delicate china
Two pinkies a needle; a shot glass
A contact lens rests on the tip of a finger
Conversely, pick up an empty bottle with the hand
Pick up a full one with the hand and arm
A bucket with the hand, the arm and the shoulder
A heavy bucket, the hand, arm, shoulder, and chest; then the
stomach and hips
Notice that the body segments are placed in order of proximity
to the object. The body reacts like a chain. Links don't move
until the preceding link applies tension.
Locomotion
Off to a leaning start.
The illusionary lean has become a cliche if not a parody of
mime. It is, however, also the clearest example of the leg
mechanics involved in locomotion.
If you are sitting while reading this, your legs are probably
bent. Stand up and your legs are straight. When the knees
lock, your weight is carried by the bones more efficiently than
the muscles. It's automatic and it's what's expected. That
assumption is an important part of the illusion. We assume that
straight legs carry the weight and bent legs are relaxed.
Observe the lean. One leg straight and slightly off to the side;
the other leg bent. The weight seems to rest between straight
toe, through the body, and hang off the shoulder, propped up
by the arm, and so on into support.
Because the viewer assumes the leg mechanics, the illusion of
the support is reinforced. In reality the lean is accomplished by
reversing the mechanics. By standing on the bent knee the
weight carried through the muscle, the viewer is unaware of
the shift in the center of gravity. The performer can now shift
more weight toward the "support," by the further misdirection
of lifting the shoulder, appearing to hang the arm on the
support.
Walking involves the same bent leg, straight leg system only it
is put in motion: observe walking. Each step lands the body on
a straight leg. The body falls forward to be caught by the next
step, as the weight shifts to the front foot the back leg bends
and is drawn forward to replace the last step. Again it is
automatic, and taken for granted.
The illusionary walk involves keeping the weight on the bent
leg and either pulling or pushing the straight leg:
stand on one leg
bend the knee
The weight is on the back leg. The front leg is locked straight,
front foot flat on the floor. As the back leg flexes and bends,
the front leg is dragged backwards under the body. The flat
foot slides along the floor.
The back leg carries all the weight. As the knee bends and the
ankle flexes, the work is transferred from bone to muscle.
Timing is critical, the pull of the front leg must start and finish
at the same moment as the back leg bends and must stop when
This walk starts by placing a bent and flexed leg in front and
applying weight to it. While doing so, the leg straightens. The
back leg lifts and is pushed slightly to the back, where it bends
at the knee and comes forward to replace the other leg.
The effect to the viewer is that the floor falls away behind the
mime.
The Kicker
To compound the illusion, make it more believable, more
elements can be added. The head directs the viewer's focus, so
panning the head to follow an object shows the viewer the
scenery the mime is walking past.
Isolating a hand on a passing object, be it a fence post or a
horizontal rail makes that scenery more concrete.
This system can be applied to other types of locomotion.
By picking up the pace and tightening the arms of the full
front walk it becomes a run.
Bouncing off the toes compounds the illusion.
Slowing it down, and pressing through the move gives it
resistance. The effect could be less gravity or under water.
Characters for mime are the loud uncles of the actors' family.
There is a pitfall some beginners get caught in that I think
deserves a warning. Since the mime works in silence the
novice has a tendency to amplify the gesture and, while that
might still be effective in manipulation and locomotion, in
characterization it is only overacting. In building characters
usually less is more.
That said, I endorse a technique based on the bodies' centers
(sound familiar?).
Everyone has an individual walk. A person's self image shows
through his movement. With observation and this system it is
not too difficult to decipher the code.
Human beings deal on three levels: Intellectual, Emotional,
and Physical. These correspond to the largest collections of
bones in the body:
The skull: intellect, brain box, head
The rib cage: chest, heart
The pelvis: hips, naughty bits, ass
So, in creating a character first define how the character sees
himself. Then apply the related center or combination of
centers to his movement. Allow the centers to lead the
characters through space.
Head the residence of the intellect. Individual types include:
the seeker, the inquisitive, the know-it-all, the suspicious, or
the visually impaired.
Examples: Sherlock Holmes, the guest speaker, Barney Fife
(not particularly smart, although he thought he was)
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