MIM - information on the portal Encyclopedia World History. Memes at the wedding - laughter and smiles are guaranteed! Pantomime - the art of emotion

MIM - small-laya form of an-tich-no-go no-zo-vo-go te-at-ra; the genre of an-tich-noy drama;
ak-ter - is-pol-ni-tel mi-ma;
in modern te-at-re - the same as ak-ter pan-to-mi-we.

1) Small form of an-tich-no-go no-zo-vo-go te-at-ra; genre of an-tich-noy drama. The is-to-ki mime dates back to the 8th century BC. e.; pro-is-ho-zh-de-nie mima us-mat-ri-va-yut in mi-mic dances, would-be-vav-shih in pre-riy-sky ko-lo-ni-yah in Si-qi-li. The written fik-sa-tion of the mime is connected with the names of Sof-ro-na and his son Kse-nar-ha, co-chi-nyav-shih texts for mi-mic in a hundred-but-wok.

The mime represented himself not-big-im-pro-vis-i-dated performances of the scenes-no-go-holding on pa-ro-dii -but-mi-fo-logic or would-be-so-so-you (bra-ko-so-che-ta-nie gods, sup-ru-same-sky from me, scenes from by-ta re-mes-len-ni-kov, etc.; bo-ev, etc.). Mim re-pro-from-vo-dil ha-rak-te-ro-logical features of various so-qi-al-ty-pa-zhes (pas-tu-hov, zem- le-del-tsev, sol-dat, ra-bov, pa-ra-si-tov, vozd-nikov, heter, etc.); from-whether-chal-sya to-tu-ra-li-stich-no-stu and scab-cut humor-rum. Memes co-chi-nya-lis rit-mi-called pro-za li-bo in the form of pro-zi-meter; about-la-da-whether a dialogical structure-tu-swarm, but tya-go-te-whether to mo-no-dra-me, in some-swarm mo-no-log of the main character pe-re-bi-val-sya ko-rot-ki-mi re-p-li-ka-mi or mi-mic com-men-ta-ri-em of other per-so-na-zhe.

The de-mo-kra-tich-ness of the mime, the simplicity of its su-same and general-access-stupidity of the language of gestures obes-pe-chi-whether he is in-pull lar-ness in the epo-hu el-li-niz-ma. Then, from the mime, you de-li-lis and in-lu-chi-la sa-mo-stoyatelnoe development of the so-called pan-to-mi-ma (mi-mic dance on mi-fo-logic plot). In the III century BC. e. mime ut-ver-dil-sya in literature as an ethical genre: not-so-someone-ry idylls Feo-kri-ta and the so-called mi-mi-yam-by Ge- ro-da - scenes from urban life with the participation of two or three actors, ad-re-co-van-nye rather images-van- no-mu listen-sha-te-lyu than see-te-lyu from a simple-to-ro-dya. Then the same mime appeared in Rome, where he united with the traditions of Italian musical performances. In the middle of the 1st century BC. e. mime started you-tes-nyat atel-la-nu on the Roman stage. De-tsim La-be-riy brought into the ethical mime personal you-pa-dy against so-time-men-ni-kov, and Pub-li-ly Sir - mo-ral -ny element in the form of nra-in-educational sen-ten-tions. The biggest-she-po-lyar-no-sti genre of mime dos-tig in the im-pe-ra-tor-sky era-hu. At this time, mime becomes a big play (the so-called mi-mic hypo-te-za) with for-no-ma-tel-ny, hour for-pu-tan -ny sut-same-tom, in a swarm of dances and ak-ro-ba-ti-ka pe-re-me-zha-yut-sya in-kal-ny-mi no-me-ra mi. For the Roman mime, evil-bo-day-life, word play, lytic allusions, avant-tur-nye, erotic and an- ti-hri-sti-an-sky mo-ti-you. The literary mime had an influence on the Roman pal-lia-tu, sa-ti-ru, bu-ko-li-ku, ro-man (the influence of the mime on the non-at-tic co-media not to-ka-for-but).

Use-full-neither-there-whether mime first-at-first-but-si-whether zoo-morphic masks, but over time, from-ka-za-were from their use -pol-zo-va-nia; for the first time in an-tich-nom te-at-re with-ob-re-la the meaning of mi-mi-ka ak-tyo-ditch. Along with the absence of ma-juice, co-tur-nov and ho-ra, especially-ben-no-styu mime was the participation of women-act-tris (by- whether the memes are “male” and “female”). Sleep-cha-la mime is-half-nya-li bro-dy-chie ak-cho-ry - f-kus-ni-ki, ak-ro-ba-you, jong-le-ry, you-stu- fallen on wooden under-mo-st-kah; from the 4th century BC e. - professional troupes, yes, vav-shie representations of a mime, not only in urban and rural areas, but also in private do-max and in re-zi-den-qi-yah pra-vi-te-lei. In Rome, in-sta-nov-ki, mime went on the stages of city theaters and sub-si-di-ro-va-lis-su-dar-st-vom; from-whether-cha-were a complex stage design-le-ni-em and an unlimited number of actors; in them, not-rarely, teaching-st-vo-wh-whether de-ti and dressed-si-raven animals. Regardless of the ot-lu-che-nie ak-tyo-ditch of the mime from the church-vi (452 ​​AD) and the prohibition of the emperor

On the streets major cities, and not only large ones, you can often meet unusual and funny street performers with white faces, dressed in striped vests. These artists are mimes. They are somewhat similar to clowns, but the genre of performances is completely different, and is called pantomime. To understand who a mime is, it is worth delving a little into the history of this unusual art.

History of pantomime

This is a type of performing arts that has its roots in ancient Greece and Rome. In this kind of genre, the artistic image is conveyed by artists without words, only with the help of body plasticity. The understanding of who memes are in that era and in our time is significantly different. The Greeks and Romans called street performers giving mass performances mimes. The theater included acrobats, magicians and other actors who portrayed scenes from Everyday life townspeople and accompanied them with singing, dancing, satire.

After the fall of the Roman Empire, the culture of the region was influenced by medieval Christians. However, memes have not disappeared, but only transformed into a more acceptable genre. Their street art mingled with the traditions of German buffoons and peasant folklore. Later, aristocratic artists also adopted this art, remaking the medieval satirical farce into a sophisticated classical comedy.

In the 19th century, pantomime moved from the streets to theater stage, and the question "Who is a mime?" received a new answer: a theater actor with a good education and training. In countries Soviet camp, where plastic art was presented only classical ballet allowed by the Communist Party, pantomime quickly became popular. However, in the states of Europe and America, theatrical pantomime remained practically unclaimed: many choreographic theaters in these countries filled the niche of plastic art.

Pantomime actors

Who is a mime? A pantomime actor who expresses emotions and feelings through body movements and characteristic plasticity of hands, exaggerated facial expressions. To better convey emotions, the artists cover their faces with a kind of makeup. With the help of these techniques, a single actor is able to play out a complex plot and touch the thin emotional strings of the audience. Often, memes give simple representations that even young children can understand. In this case, pantomime is very similar to clowning, but all actions are performed absolutely without words. The most famous mimes: Charlie Chaplin, as well as the characters Pierrot and Harlequin.

The image of a mime

Who is a mime, the photo is the easiest to determine. The actor's face is hidden under a thick layer of make-up, the traditional outfit consists of a vest, a red neckerchief, a hat or a beret. Often mimes wear a jacket, imitating Charlie Chaplin. However, there is another style. Its representatives do not adhere to the standard image, do not use makeup and dress in arbitrary costumes in order to avoid the stereotypical attitude of the audience. Only the unsurpassed art of pantomime and the silent, but extremely emotional performance remain unchanged.

How to become a mime

A professional mime is an actor who has received the appropriate education and devoted his life to the theater of pantomime. However, each person can discover a talent in himself and learn to do it. amazing art to entertain relatives or friends. First you need to apply makeup. Cover the face with a white tone, highlight the eyes and eyebrows with a black pencil, and point the lips with red lipstick. Such makeup is necessary in order to give the image certain character traits. In the presentation, mimes depict scenes with invisible objects, for example, a wall - this is one of the most famous tricks.

So, mime - who is this? Professional actor pantomime theatre. Do not confuse mimes with clowns, as these two different kind art.

Pantomime - theatrical performance, in which characters express themselves not with words, but with facial expressions, gestures and plastic movements

Features of pantomime

Pantomime just like all other art forms, reflects life in artistic images. But at the same time, pantomime occupies its own special place among performing arts, has its own specific means of expression. You can't confuse her with drama theater, nor with ballet, although in some ways she looks like them. What do the works of a mime and a drama artist have in common? First of all, their subordination to some general laws of acting. There are many similarities in the method of creating an image. The final task is the same - an emotional purposeful impact on the viewer. Yet drama and pantomime are different. The dramatic actor acts primarily with words, while the work of the mime is silent. Silent, as you know, and ballet dancers. Both the dancer and the mime "speak" the language of the plastic movement. Doesn't this mean that the essence of their creativity is the same? No, there are far more differences between ballet and pantomime than there are commonalities. Ballet is impossible outside musical images, without the dance plasticity corresponding to them. In pantomime, the action, as a rule, is free from time signature and rhythm. Pantomime is often performed without music at all. If music becomes a necessary component of this or that pantomime action, then it plays not the main, but a subordinate role in it.
So, we see that pantomime differs significantly from both dramatic and ballet theaters. And it differs primarily in the way of expressing their ideas. For a mime, silent plastic action -
the main means of expression in the creation of artistic images. Continuation

Exaggeration is a feature of pantomime

Condensation, concentration of action are characteristic of the entire system of pantomime. The gestures and facial expressions of the actor can also be underlined. They will not look deliberate when the performance technique is high enough. The mime constantly resorts to exaggerations for the sake of greater expressiveness of the action, artistry of characteristics. A similar exaggeration is characteristic of caricature. It is interesting to note that a cartoonist becomes a true master of his craft only when he has mastered the technique of ordinary drawing to perfection. The same can be said about the pantomime artist: the use of the technique of artistic exaggeration requires from him a special development of the plastic expressiveness of the body. Comprehensive readiness for independent creativity will give the mime the right to freely resort to exaggeration without the risk of falling into a cheap trick. It is extremely important to take this into account, because pantomime by its nature belongs to one of the most conventional arts. And the more conventional the art, the more technical skill it requires. Details, as well as mandatory conditions of pantomime

The great mime Marcel Marceau

Markel Mangel ( stage name- Marcel Marceau) was born March 22, 1923 in France. He was a recognized master in the art of pantomime. During the intervening years, his tours have included countries and cities on five continents. In the movie, he starred quite a bit. Marceau opened his own school in France, and the Marceau Foundation to develop mime in the US. He is an elected member of the Academy of Arts in Berlin, the Academy of Arts in Munich, the academy fine arts in France. Died in 2007 Details

MARCEL MARCEAU Tribute 1923-2007

1 video

Marcel Marceau - French Charlie Chaplin

Marcel Marceau was called the French Charlie Chaplin. Marceau gained worldwide fame by creating in 1947 the image of Bip - a white-faced clown in a striped sweater and a shabby hat. His productions, many of which have become classics, have been staged at the finest venues, including the Sarah Bernard Theater and the Champs-Elysees Theatre.

Marcel Marceau

1 video

Mime Festival dedicated to Marcel Marceau

July 30, 2008 opened in the French town of Périgues International Festival mimes. It is held for the 26th time and this year is dedicated to the famous French mime Marcel Marceau.
Marcel Marceau died a year ago at the age of 84, having given the profession more than 60 years of his life. In honor of Marceau, the play "Child of Paradise" staged by his students and associates will be shown. Within the framework of the festival, an exhibition of sketches for pantomime performances is presented. Details

Baptiste Deburau - famous artist of classical pantomime

French mime actor Born into a family of itinerant acrobats. In 1819, he played the role of Pierrot in the pantomime Harlequin Doctor, creating an image that won wide popularity and became a folk comic hero. Based on the buffoonery tradition of the "grassroots theatre", Debureau Jean-Baptiste Gaspard made a revolution in pantomime, brought it closer to the present, filled it with great content. Debureau Jean-Baptiste Gaspard also changed the appearance of the hero, introduced a suit (long white pants, a spacious calico blouse, a smooth black headband), which later gained worldwide fame. Details

R. Slavsky The Art of Pantomime

The ancient art of pantomime - the art of talking about many things without uttering a word - is now experiencing its second youth. More and more amateur studios and pantomime groups are emerging in our country.
The author of the book, head and teacher of the pantomime studios, R E. Slavsky, talks about the specifics of this shkusov, introduces expressive means pantomime and principles of construction of its libretto.
The book contains rich material for training sessions that help develop the necessary technique and instill skills of independent creativity. Not only future mimes, but also representatives of related arts - amateur actors of drama, cinema, ballet, circus and variety art will find a lot of useful things on its pages. Practical mastery of specific techniques of pantomime will allow them to further develop mimic expressiveness and plasticity of the body. Book text

pantomime lesson

1 video

Pantomime lesson "rope No.2"

1 video

Annual Pantomime Festival in London

Best theatrical work selected by a special jury, interesting program, great plastic talented actors- all this makes the London festival one of the most influential in the world in its field of art. The Mime International Festival of Pantomime and Clownery dates back to 1977. Every year it gathers a lot of spectators. Official website of the festival

Chuncheon International Mime Festival (South Korea)

Chunchon International Pantomime Festival. Photo

Humorous duet "Girl and hooligan"

He is Igor Golubitsky, laureate of the All-Union Contest of Variety Artists, laureate All-Russian competition variety artists, winner of the gold medal "Property of Russia". Mime, clown, tap dancer, teacher, choreographer.
She is Evgenia Kuznetsova, mime actress, clown, administrator of the duo.
More about this duet and their numbers

Story

Antiquity

Having originated among the broad masses of the people in different parts of Greece, this folklore genre was first literary processed by the Greek colonists in southern Italy and Sicily; these were funny scenes with lively dialogue, snatched from the life of small artisans, villagers and layers close to them (compare the titles of the Mimes: “The Fisherman and the Villager”, “Darners”, etc.); their literary processing shows interest in this mass genre and educated upper classes (not without reason such spectacles were adopted at the courts of the Sicilian "tyrants"). This genre developed widely in the Hellenistic era of Greece in the 4th-3rd centuries. BC. At this time, memes are not created for the stage, but only for entertaining reading and enter the orbit of interests not only of craft, but also of higher social strata.

Memes - Pantomime

The mimographer was Gerond (or Herod), who wrote "holiyambami" (part of his Mims was found in Egypt in ).

If Gerrond apparently blurs the class sharpness of Mimes, then other mimographers of this period clearly turn mimes into an instrument of struggle against the ruling classes (parodies on the pathos of the tragic style, religion, up to ridiculing the life of monarchs, for which, for example, the mimographer Sotad paid with his life ).

Mimes were also widely used in ancient Rome. Prospering for a long time in southern Italy and existing in Rome as a grassroots mass theater, mimes firmly mastered the stage by the end of the 2nd and in the 1st century. BC, when the victories of democracy sharpened them as a weapon of the class struggle, making the theater a place of socio-political satire. Literary processed memes of the Syrian slave Publius and Decimus Laberius (1st century BC) are known, who was patronized by the dictator Julius Caesar, who relied on democracy. Reflecting the life of small artisans (dyers, rope makers, etc.), these mimes are often directed against the ruling classes - large landowners, etc. - sometimes with a sharp satire on religion. The most obscene stories were predominant here. The traditional character of the mime was the fool, showered with all sorts of abuse; an improvisational element on the topic of the day often burst into the text. As a class genre of the lower classes, the Roman mime was written in the language of these layers with all the vulgarisms and jargon of city taverns. In the 1st century BC, the mime began to displace " atellanu".

New features characterize the mime in the era of Caesarism. Under the auspices of the state, which seeks to distract the democratic strata from the struggle against the ruling classes, memes expand into a complex representation, the so-called "mimic hypothesis", which is given in big theaters and is subsidized by the government. These "hypotheses" were devoid of the former class sharpness of mimes; it was an ultra-naturalistic adventurous drama written in prose and verse, with transformations, various miracles, impregnated with crude erotica and other means to attract an unpretentious viewer. Singers, dancers, even trained animals performed here; the actors (unlike the "atellanes") played without masks, the actresses often performed completely naked, which subsequently provoked attacks by Christian writers.

Medieval and Renaissance period

The grandiose social cataclysm of the 5th century AD, which put an end to the existence of the Roman Empire, did not lead to the disappearance of the Roman mime. Its history continued in subsequent centuries, marked by the transition from the slave system to feudalism, from the ancient "pagan" culture to the medieval Christian one. But the residual forms of the Roman mime received qualitatively in the new social situation. new character. As the “barbarization” of the former Roman Empire intensified, expressed in the “reverse” movement from a complex system of barter economy to simple forms of natural economy, the material prerequisites for the existence of the mimic hypothesis, this last great theatrical genre of antiquity, gradually disappear. Roman actors, adapting to the new economic and social conditions, spread over the "barbarian" countries, returning to their original vagrancy. Through them, the deformed remains of the Roman folklore seeped into the lower strata of the urban and rural population and were assimilated by peasant folklore, in which they found extraordinary stability.

Modern Memes

• Vahram Zaryan / (fr. Vahram Zaryan ) - France

Vahram Zaryan spectacle ILYA

• James Thierry / (fr. James Therrey ) - Switzerland

James Terry / James Therree 2010

Criticism of Emil Reich's theory

At the same time, the traditions of Roman mimes were undoubtedly combined in the new barbarian countries with the art of local German singers-buffoons, ospreys or glimans. Only as a result of the assimilation and processing of the “cultural heritage” of Roman mimes by the native buffoons did juggling typical of the feudal Middle Ages form, which finally took shape by the century. and using the experience of Roman mimes in a revised, "removed" form, and not by directly transplanting it into a completely foreign socially and ethnicity soil of the Romano-Germanic states.

This information is sharply opposed to the well-known theory of the German scientist Emil Reich (German. Reich, Emil), which derived directly from the Roman mime all the folk-comic creativity of medieval and modern Europe, as well as Asia and Africa. Seeing in the mime the primordial grain of the comic image of everyday life, the same in all countries due to the homogeneity of the life of the social lower classes that give rise to it, Reich argued that this folk-comic element underlies the entire world drama, since it is not “classical”, that is, it is not based on conscious imitation literary drama antiquity.

socialist theory

According to this theory, the mime has an undeniable resemblance to both the medieval farce and the Learned Comedy (Italian commedia dell'arte). In both cases, we are dealing with socially heterogeneous phenomena: if the medieval farce is generated by the social practice of the lower classes of feudal society, then the commedia dell'arte shapes the ideology of the ruling class. Hence the different nature of the connection between these genres and memes. In the first case, the creators of the farce - the artisans of the medieval city - used for their amateur comedy creativity traditional technique buffoon actions that absorbed the "cultural heritage" of Roman mimes; at the same time, some elements of mimes penetrated into the farce from medieval peasant folklore, where they were brought by the same jugglers of the early Middle Ages.

In the second case, in the "commedia dell'arte", there is not a spontaneous penetration of folklore-game elements into comedy, but the conscious use of these elements by aristocratic artists in order to stylize "folk" comedy, a use permeated with a tendency to master ancient genres to satisfy their ideological requests. "Commedia dell'arte" focuses on atellanus and mimes no less consciously than "learned" comedy, focused on the plays of Plautus and Terentius.

Bibliography

• Veselovsky A. N. ancient theater in Europe. - M., 1870.
• Gvozdev A. A., Piotrovsky A. I. Story European theater- M.: - L.: 1931.
• Magnin C., Les origines du theater moderne, v. I, 1838;
• Petit de Julleville L., Les comediens en France au moyen âge, 1889;
• Allen P.S., The medieval Mimus, "Modem Philology", 1910, VIII.

See also the bibliography for the article "Commedia dell'arte"

see also

• ancient theater

Links

Notes

Theater directions
Theater
Musical Theatre
Genres
Theater schools
Directions in theater
Theater Varieties
Chamber theater
Miscellaneous	theater schools theatrical terminology theatrical roles theater critics

Wikimedia Foundation. 2010 .

• Perevalsk
• Transfer (typography)

See what "Memes" are in other dictionaries:

memes- (from the Greek "imitation") among the ancient Greeks and Romans all sorts of stage performances of a mass nature in the taste of the audience from the lower strata of the performance of acrobats, magicians, etc., scenes with singing and dancing, finally a whole really everyday one ... ... Literary Encyclopedia

MIMES- (Greek mimos, from mimeomai I imitate). An ancient Greek farce, for which the author gave only one theme, while the actors had to improvise the details themselves. Dictionary foreign words included in the Russian language. Chudinov A.N., 1910. MIMES 1) ... ... Dictionary of foreign words of the Russian language

memes- MIME kind of comedy among the Greeks and Romans. Memes originated from folk art and presented first improvisations (see this word). The subjects of the mimes were usually the events of everyday life (adultery, fraud); famous Roman... Dictionary of literary terms