A mime is a terrible thing to waste.
Marcel MarceauRead
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.
Interpretation
The collaboration between an actor and a playwright is crucial for a successful performance.
Marcel Marceau highlights the importance of both the actor's interpretation and the playwright's writing in theater. He suggests that a performance is a balance between the actor's skill and the author's creativity, emphasizing how each is essential to conveying emotion and meaning; if one is lacking, the whole performance can fall flat.
In practice
During a theater workshop, one could use this quote to discuss the balance of roles in drama.
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.
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.
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.
To me, the greatest pleasure of writing is not what it's about, but the inner music that words make.
In America, at the beginning of talkies, they pulled Fred Astaire from the theaters and put him on the screen and had all of these great composers write songs for him. They call it the Great American Songbook; I call it the Fred Astaire Songbook because they were written for him.
Elvis Presley was the big bang. He was the most influential single figure in the history of American pop culture. He changed the way we looked, thought, dressed, held a guitar. He didn't invent rock & roll, but he defined it in a way that everyone who followed him owes him a debt.
I've always tried to make movies that pull the audience out of their seats... I want audiences to be transported.
Long looking at paintings is equivalent to being dropped into a foreign city, where gradually, out of desire and despair, a few key words, then a little syntax make a clearing in the silence. Art... is a foreign city, and we deceive ourselves when we think it familiar... We have to recognize that the language of art, all art, is not our mother-tongue.
A masterpiece of fiction is an original world and as such is not likely to fit the world of the reader.
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