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The Mime Book by Claude Kipnis

10/31/2017

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I am rereading some of the old textbooks to refresh and came across The Mime Book.  It is a good revision of the basic skills for me.  Mime has always been one of my favourite genres.  It was my lead into physical theatre and it wasn't until I was a adult that my leanings to the physical was all to do with my hearing loss. I still love it today and for so many more reasons.  I have been teaching it to my grade 6s who loved it.  Especially the boys.  I loved seeing them so engaged but also as we had Parent teacher conferences, hearing from parents whose children had been talking about Mime at home and showing them some of the basics such as the wall, the rope and climbing a ladder.  I also love the fact that it transcends culture and language. It warms my heart.

The Mime Book's Chapters include:
  1. The Body - Warm Up exercises
  2. The Illusion - Pressure, Immobility, Clic, Contact and Touch, Weight and Resistance, Manipulation, compensation, Push and Pull, Reactions; Walks and Runs' Climbs' Friction
  3. Creating the World - Pressure, Tendency, Pantomine, Imagination 

Lucian(2nd Century AD) summarises why the study of Mime is still important - " This man, whose gestures are a universal language, Can make himself understood by any nation."

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The art of Clowning by Eli Simon

9/28/2014

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This is a good book to introduce students to some of the key principles of clowning. Gives a basic over - very simple terms.  Could be accessed by Secondary students easily. Good outline of activities and theory behind aspects of clowning.


Key ideas:
  • Connect with audience
  • Always say yes
  • Stay in clown
  • Clown cycle - yes mode - risk - failure - vulnerability - yes mode
  • Diversification


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Why is that so funny? by John Wright

9/21/2014

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Why is that so funny?  I found to be a very good resource.  It has a good mix of theoretical ideas with discussions on the various types of laughter.  There are series of exercises through out the book that can be used to investigate physical comedy.  John Wright talks about the distinction in theatrical circles between drama and comedy and how comedy is often not valued as much.  It is true through my teacher training - it was more from a Stanislavski point of view.  This is a refreshing look at comedy.  Also the "games" exercises that John explains are games that can be used in dramatic scenes but allows for a new way of looking at events.  John trained with Lecoq and this has influenced his way of working.  He gives a strong outline for his version of the States of Tension and I enjoyed the sections looking at Clowning - Parody, Satire, Pastiche, Caricature, Burlesque and Buffoon.  I have already used these exercises with my classes to some success.  What really  surprised me was how well come of the complicity games worked with my Grade 5 and 6s.  It is a good book for any IB student who needs some ideas or theoretical underpinning.  
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    Catherine Rankin

    Drama/Theatre/Dance teacher for 30 years; Currently teaching at International School Manila.

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