pantomime and mime

8/10/2019 Pantomime and Mime

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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.

pantomime and mime

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