A mime is a terrible thing to waste.
Marcel MarceauRead
Mime makes the invisible, visible and the visible, invisible.
Interpretation
The quote describes how mime art transforms perceptions, revealing deeper layers of meaning and emotion.
Marcel Marceau, a renowned mime artist, emphasizes the profound capability of mime to convey emotions and ideas that go beyond verbal communication. By suggesting that mime makes the invisible visible, he highlights its role in expressing thoughts and feelings that are not easily articulated, while also asserting that it can obscure the obvious, challenging audiences to see things in new and unexpected ways.
In practice
In a theater class discussing the power of non-verbal communication, this quote can be used to illustrate a key point.
A mime is a terrible thing to waste.
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.
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.
I have always thought of myself as a painter derailed by circumstance.
I'm always struck by the kids who turn up in New York and LA, and places in between. Chicago. Wanting to do theater, wanting to do independent film. Wanting to break into television or radio.
Anyway I feel myself a bit on the edge on the art world, but I don't mind, I'm just pursuing my work in a very excited way. And there isn't really a mainstream anymore, is there?
This element of surprise or mystery β the detective element as it is sometimes rather emptily called β is of great importance in a plot. It occurs through a suspension of the time-sequence; a mystery is a pocket in time, and it occurs crudely, as in "Why did the queen die?" and more subtly in half-explained gestures and words, the true meaning of which only dawns pages ahead. Mystery is essential to a plot, and cannot be appreciated without intelligence.
The important thing in writing is the capacity to astonish. Not shock - shock is a worn-out word - but astonish.
It's a product of two poles - there's the pole of the one who makes the work, and the pole of the one who looks at it. I give the latter as much importance as the one who makes it.
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