A mime is a terrible thing to waste.
Marcel MarceauRead
In a clown, we see what we do that makes us laugh and cry. I kept the white face, the tradition of the Pierrot. My clown became a romantic and stylized figure. I wanted to be an abstract and concrete figure, a symbol of humanity.
Interpretation
This quote reflects the dual nature of human emotion as presented through the art of clowning, emphasizing its romantic and symbolic aspects.
Marcel Marceau highlights the importance of the clown as a representation of the complexities of human emotion, encapsulating both joy and sorrow. The clown figure, particularly the Pierrot, serves as a stylized symbol that captures the essence of humanity, illustrating how art can evoke deep feelings and connections through its abstract portrayal.
In practice
A performance review highlighting the emotional elements of clown artistry.
A mime is a terrible thing to waste.
Mime makes the invisible, visible and the visible, invisible.
I am a company in myself. My repertoire has become a bible for all mimes in the world.
When you're in a play, 50 percent is the genius of the actor, 50 percent is the genius of the author. When a mime is not perfect, you see nothing.
Music and silence combine strongly because music is done with silence, and silence is full of music.
Mime, like music, knows neither borders nor nationalities.
Don't worry about how pretty (the story) sounds, how lilting it is, and the imagery, and the metaphor, all that. Most readers don't care. It's the people in your book that matter.
I think of making love and making art as being very parallel. Even the most amateur attempt can be thrilling.
Art is very tricky because it's what you do for yourself. It's much harder for me to make those works than the monuments or the architecture.
To be willing to sort of die in order to move the reader, somehow. Even now I'm scared about how sappy this'll look in print, saying this.
At present I absolutely want to paint a starry sky. It often seems to me that night is still more richly coloured than the day; having hues of the most intense violets, blues and greens. If only you pay attention to it you will see that certain stars are lemon-yellow, others pink or a green, blue and forget-me-not brilliance. And without my expatiating on this theme it is obvious that putting little white dots on the blue-black is not enough to paint a starry sky.
The second, and I think this is the much more overt and I think it is the main cause, I have been increasingly demonstrating or trying to demonstrate that every possible stance a critic, a scholar, a teacher can take towards a poem is itself inevitably and necessarily poetic.
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