Universal concept, thoughts on pantomime

                UNIVERSAL CONCEPT
   
                THOUGHTS ON PANTOMIME

         The word pantomime can be literally defined as an imitation of life. A mime uses the highly developed equipment of his body to express this imitation. Just as a singer exercises his voice, a mime perfects precise body movement as his tool. He transforms the technique of movement into art through his observation of life and his own imagination. Consciously, a mime masters the motion of the human body and stylizes it, but unconsciously he communicates his reaction to life through his own aesthetic representation. Like a painter, he fuses the images, rhythms and echoes of remembered impression to comment on the universal condition of a mankind and his world.

          The position of the arms in relation to the body has significance in pantomimic gestures. When arms  at his sides are lifted overhead to form a circle, the mime passes each part of the body which can absorb his concentration and expression. A dream is represented at the beginning and the end the end of this human circle. In front of the body, the hands on the level of the genitals signify the complexities of human sexuality. Hands on the level of the stomach can be translated as the material concerns of food, money and possessions. Arms on the level of the heart express emotion and intuition. On the level of the soul, arms represent subjective energy which the artist can extend to the world. On the level of the head, intellect and the rational thought is portrayed. When the arms ascend above the head, the spiritual dream of the psyche is symbolized. The circle ends with the arms extended towards THAT WHICH is not immediately attainable., a goal or ideal not bound to the person, but beyond him. Arms (and legs) are the extensions of of the individual whose purposes are to reach out to the objective world.
          This is the circle of wholeness of human experience, the needs and goals of the body and the soul.
          The soul processes the objective energy of thE cosmos into the subjective energy of the individual. It is centrally located in the chest so that it can radiate energy to all parts of the torso. The movements of the body in pantomime always originate from the soul, the center of human expression. The waves of cosmic energy which enter the body are absorbed by the soul, processed by the artist, and expressed subjectively through technique. The combination of arms, head and eyes lifted in the air while inhaling expresses the transformation of objective energy into the artist's subjective energy as he progresses to the level of his dream.

          In pantomime, the flow of subjective and objective energy can be understood as wave patterns. A wave is a spiral, snake-like coil of the body that represents energy of power, An objective wave originates outside the body; it haas the ability to attract and sometimes overpower. One reaches out to grasp an object, the movement necessary to grasp it is an objective wave. A subjective wave begins within the person. Some movements combine objective and subjective wave energy: trying to reach out for a rope is an objective wave; pulling it to the body is a subjective wave. Any type of action in pantomime is based on wave theory, in my opinion. Similarly, wave theory can be applied to psychology, but not only.m. In my opinion, it could by applied to nature in general. Like a wave, our lives never progress on a straight line. Perhaps people commit subside because they can't wait for a new wave to begin.
          Another example of an objective wave energy is an audience. An artist's wish to bring his art to an audience is example of subjective wave energy. This balance is often achieved in a theatre, but often there is imbalance. A street performer who wants An audience often has difficulty engaging passers-by. Conversely, there are people who hunger for art but their communities lack museums, theaters or performances.
          In addition to body waves which stylizes pantomime movement, there are also positions of contraction and release which convey images to viewer. When the stomach contracts, the center of the body curls inside  itself. This is a position of defense. A release of the muscles (release as a position), represents the freeing of the soul. Allegorically, spring, summer or day time are periods of release, and winter and night are times of contraction. During the day we release ourselves to meet the world, whereas at the night we turn inward for privacy, intimacy and self reflection. On stage, a character walking with stooped shoulders, head bowed and a contracted stomach evokes pity and suffering. This posture transports the same image in life. The concept that  our eyes mirror our soul is especially true in pantomime where every gesture is necessary to convey meaning. Eyes that are contracted are trying to deceive. Hostility, youthful innocence and maturity can be reflected through the intensity or position of our  eyes and eyebrows. Our internal state sends messages through our eyes and also through the placement of the body. A neutral position of the body is wise, balanced and mature. The person is prepared to give and receive, and can defined himself against subjective energy. Hips, chest, shoulders and head are properly aligned. If the hips are too far forward and shoulders are held back, an imbalance is created; the person is too defensive, withdrawn and unresponsive. People who walk with their souls extended are idealistic while those who prospered with chests outstretched are too proud. Those whose stomachs pull them forward concentrate on satisfying their physical hungers. Hips leading the body suggests that sexuality is the driving force in the person's character. The thoughtful, cerebral personality who bases experience on reason and analysis leads with his head, skeptical of emotions and  instincts.
          All of these positions reveal different characteristics of personalities; the laws of movements apply on and off the stage.
         Pantomime study by its very nature requires discussion and analysis because of its intellectual.as well as physical demands. It is a blend of mind and body, and it is this distinction which separates it from dance. Although dancers and mimes  both use body language as a vehicle of expression, dance need not tell  a story but pantomime must. The basis of dance is hieroglyphics. Dance portray emotions and abstract images using artificial symbol of movement. Pantomime's stylized forms are motions of energy life condensed to symbolic form.
          Music accompanies dance and pantomime. The body's rhythms are awakened by music and our whole emotional life has a rhythmic character and quality. A mime is conscious of the waves pattern  of the human body which exist for him even without music. Dance and music are so interrelated that without music, dance must be redefined. In pantomime, music is not necessary but it can heighten the emotional or unconscious appeal of a pantomime performance. Music helps us respond not merely with our ears, but with the whole movement of our bodies and the tempo of our imagination. Although music is not essential is pantomime, it is a perfect accompaniment, rich is sinuousness and nuance.
          The art of pantomime is based on the essential components of technique and a concept called dramaturgia. Dramaturgia is the development of a theme, story line and conflict in a pantomime piece. Pantomime piece can be divided into several categories: first is simple, sometimes comic pantomime which imitates life with the emphasis on human emotions rather stylized movement; second is allegorical or poetic pantomime which requires a character who can personify nature or project satire; third is symbolic or philosophical pantomime which requires a neutral, clear character with a coordinated, beautiful body capable of feeling and interpreting the symbol.

          Each of these styles is made interesting by the complexity of the conflict and the strength of its resolution. In this way, the art of pantomime follow
Was the formula of classical drama. The struggles of man against nature, man against society, man against man or against himself can be categorized as dramatic conflicts. A story  is made interesting by the dramatic tension that must be constructed. For without conflict, pantomime cannot be considered dramatic art.

          In pantomime, the union of  artistic technique and dramaturgia is the highest point of the circle which we described earlier. It begins with the mastery of pantomimic gestures and ends with the transformation of technique with into a satirical, poetical, philosophical or symbolic representation of the human condition. The technique developed for expression can be defined as form. Content, which is composed of an impression of nature, the human body, greats, thoughts or ideas, is the artist's reaction to the world which he expresses through form. Thus, in pantomime, as well as any form of art, the equation of form plus content.equals art.

          What happens when technique is presented without content? When a performer has developed his technique but his soul is not at the center of his work, he has not limited life, but rather, he has imitated art, and the result is craft. A performance of a finally tuned technique has its own place as entertainment. But performers of technique often misrepresent pantomime to an uneducated audience.people who see a certain level of pantomime craft on the street may be reluctant to attend a theatrical performance because they are unaware that this is an art form worthy of serious consideration. A performer must begin with talent, develop technique and then add soul and content to create art.

          A mime attempts to dramatize that which is invisible and unreachable on a realistic and philosophical level of transcending the borders of language. He is a painter of impressions, a sculptor of space, a poet of images, a musician of silence. As an artist he masters the combination of form and content to become a commentator of life and existence. Hints of feelings and whispers of thought which words are  too coarse to clarify have in pantomime their moment of being. A mime opens our eyes and our imagination so that his imitation has more precision and intensity than the reality of our experience. He speaks in a thousand different accents to a thousand different listeners to say what no language can express. Pantomime sheds a silent light on life's mysteries which are too profound for words.
Conceptualized by Grigory Gurevich 1973
Transcribed by Demetria DeLia
1984

Copyright , Grigory Gurevich,
1984
Re-typed, by Grigory Gurevich, July 20, 2016, Samorin, Slovakia.