Inspired by the work of M. Marceau, Etienne Decroux, Jacques Lecoq, our teaching method aims to help the actor discover all the means of expression of his body, the subtlety of movement and the drama of a gesture.
It is work based on the art of living and contemporary mime based on a strong knowledge of the roots of this discipline.
The actor will explore a range of new possibilities thanks to the understanding of the dramatic paths presented by the three great schools of 20th century mime:
The rigor of Decroux,
the poetic expression of Marceau,
and the analytical drama of Lecoq.
Our personal research has led us to focus on working on contact and portées and this has become an essential element of our teaching.
A gesture is not enough, it must be clothed with a thought, and the image that this thought describes must be rigorous so that style can be born.
Mime is a fundamental act, the first act of dramatic creation for the actor, for the writing and for the play. I consider the act of mime as central, as if it was the body of theatre itself: to allow you to be someone else, to give the illusion of something different. Mime is to be at one with your body, thus it about understands better.
The thought, the love, the soul of the character thus have to express itself through the body and its movement; the beauty hides, it is necessary to see her(it) as behind a window, the love hides, because it has the modesty of something big