Misunderstanding Delsarte (And Preserving the Cherries)

Leabhart reminds us that much of Delsarte’s original teaching has been lost, and that what is currently called “Delsarte” is a “fertile misunderstanding” which has evolved necessarily, to complete the missing information

Mimo e pantomima

Neste texto o autor esboça brevemente a história do mimo desde a antiguidade até o inicio do século XX, esclarecendo alguns fatores importantes para a construção do mimo moderno. O autor distingue a tradição da pantomima silenciosa do século XIX do mimo moderno identificando os motivos que geraram a compreensão equivocada do mimo como uma arte silenciosa

Editor Note

Editor Notes: Acknowledgments, Forward, Dedication, Table of Content

Edward Gordon Craig\u27s Übermarionette And Étienne Decroux\u27s Actor Made Of Wood

Thomas Leabhart testifies to Edward Gordon Craig’s continuing influence on postmodern mime and movement. Leabhart discusses the influences that shaped Craig’s theory of acting. He then considers what the living actor and Craig’s “übermarionette” have to say to each other, putting pressure on the binary between human and non-human performers, especially in physical theater. Himself a student from 1968-72 of Étienne Decroux, the French corporeal mime and teacher whom the elderly Craig recognized as an “artist of the theatre,” Leabhart relates how he carries on Decroux’s pedagogy and legacy as a performer and teacher of corporeal mime

Pérolas de Sabedoria nas Noites de Sexta-Feira

This text testifies to the pedagogy of Etienne Decroux and, in particular, to his lessons in the early 1970s in the blue basement of his house on the outskirts of Paris. The author presents peculiarities of the teaching of mime with emphasis on Decroux’s theatrical improvisation lessons taught every Friday night, and discusses the ambiguities and the power of Decroux’s thought and contributions to contemporary theatre, especially to acting pedagogy.Ce texte offre un témoignage de la pédagogie d’Etienne Decroux et, en particulier, des cours donnés au début des années 1970 dans la cave bleue de sa maison à la périphérie de Paris. Il présente les particularités de l’enseignement du mime, en mettant l’accent sur les leçons d’improvisation théâtrale données les vendredis soirs. Il aborde les incongruités et la puissance de la pensée et de l’héritage de Decroux pour le théâtre contemporain, notamment en ce qui concerne la pédagogie de l’acteur.Este texto testemunha a pedagogia de Etienne Decroux e, em especial, as aulas dadas no início da década de 1970 no porão azul de sua casa na periferia de Paris. Apresentam-se as peculiaridades dos ensinamentos de mímica com ênfase nas lições de improvisação teatral dadas às sextas-feiras à noite. Discutem-se as incongruências e a potência do pensamento e do legado de Decroux para o teatro contemporâneo, sobretudo para a pedagogia do ator

Pérolas de Sabedoria nas Noites de Sexta-Feira

This text testifies to the pedagogy of Etienne Decroux and, in particular, to his lessons in the early 1970s in the blue basement of his house on the outskirts of Paris. The author presents peculiarities of the teaching of mime with emphasis on Decroux’s theatrical improvisation lessons taught every Friday night, and discusses the ambiguities and the power of Decroux’s thought and contributions to contemporary theatre, especially to acting pedagogy.Ce texte offre un témoignage de la pédagogie d’Etienne Decroux et, en particulier, des cours donnés au début des années 1970 dans la cave bleue de sa maison à la périphérie de Paris. Il présente les particularités de l’enseignement du mime, en mettant l’accent sur les leçons d’improvisation théâtrale données les vendredis soirs. Il aborde les incongruités et la puissance de la pensée et de l’héritage de Decroux pour le théâtre contemporain, notamment en ce qui concerne la pédagogie de l’acteur.Este texto testemunha a pedagogia de Etienne Decroux e, em especial, as aulas dadas no início da década de 1970 no porão azul de sua casa na periferia de Paris. Apresentam-se as peculiaridades dos ensinamentos de mímica com ênfase nas lições de improvisação teatral dadas às sextas-feiras à noite. Discutem-se as incongruências e a potência do pensamento e do legado de Decroux para o teatro contemporâneo, sobretudo para a pedagogia do ator