Abstract
ABSTRACT This article examines corporal mimesis, a technique created and developed by LUME Teatro. The objective is to explain how, with this technique, the performer poetically embodies different stimuli that are found in everyday life, be they people, images, voices, sounds, animals, or even texts or monuments. The concepts of mimesis, observation, and affectation, which form the basis of this practice, are discussed. Then, different experiences with corporal mimesis are described. Finally, it is concluded that this technique is an open field for exploring acting, which is found in an intermediate place between creation and training based on the sensorial universe of the artists who develop it.
Highlights
RÉSUMÉ – Mime Corporel: l’observation créative – Cet article traite de la mimésis corporelle, une technique créée et développée par LUME Teatro
Corporal mimesis has been a field of study at the Interdisciplinary Nucleus for Theater Research, LUME Teatro, since its beginnings in 1985
In the words of its creator, corporal mimesis is defined as: A process of technification of everyday actions through the observation, imitation, and codification of a group of physical and vocal actions removed from predetermined contexts, based on studies of actions of certain types of people with specific characteristics
Summary
Corporal mimesis presupposes the encounter with this ‘in between’, it is as if I empty myself and I am no longer exactly me: Rachel-actress, but I am not what I observe either. This state of mind that does not judge, nor anticipate or regret, is ideal for locating the emptiness needed to access the active and affective observation that mimesis requires To reach this state, corporal tools are used that are based on stimuli that dilate the body to intensify perception. Time is a requirement for reaching this place of bodily contamination where the stimulus is embodied, a time that is not chronological but based on the dilation of observation itself: on the focus on details, of both what is observed and of oneself, and simultaneously on the relations that these bodies compose This could be compared to the experience of watching a watercolour as it is being painted by a person. We do not work with videos or digital images, but, as an open field of research, there is always room for experimentation
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