A mime is a terrible thing to waste.
Marcel MarceauRead
I started under my master, Etienne Decroux, who taught me a new grammar for mime he called statuary mime. This grammar brings style creations. Without it, no art survives.
Interpretation
This quote emphasizes the importance of foundational techniques in the arts, specifically in mime, to ensure artistic expression and survival.
Marcel Marceau highlights the significance of mastering fundamental techniques and styles—in this case, 'statuary mime'—as essential for any artistic endeavor to thrive. He credits his mentor, Etienne Decroux, for teaching him this grammar, suggesting that without a strong foundation, art cannot endure or develop in meaningful ways.
In practice
In a speech about the importance of training in the arts.
A mime is a terrible thing to waste.
In a clown, we see what we do that makes us laugh and cry. I kept the white face, the tradition of the Pierrot. My clown became a romantic and stylized figure. I wanted to be an abstract and concrete figure, a symbol of humanity.
Mime makes the invisible, visible and the visible, invisible.
I am a company in myself. My repertoire has become a bible for all mimes in the world.
When you're in a play, 50 percent is the genius of the actor, 50 percent is the genius of the author. When a mime is not perfect, you see nothing.
Music and silence combine strongly because music is done with silence, and silence is full of music.
The main rule of writing is that if you do it with enough assurance and confidence, you’re allowed to do whatever you like. (That may be a rule for life as well as for writing. But it’s definitely true for writing.) So write your story as it needs to be written. Write it honestly, and tell it as best you can. I’m not sure that there are any other rules. Not ones that matter.
But such occasions of excellence became less and less frequent. As her technique became sounder, [her] sincerity became less necessary.
I don’t believe in an art that is not born out of man’s need to open his heart.
There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
I hate good taste. It's the worst thing that can happen to a creative person.
Things danced on the screen do not look the way they do on the stage. On the stage, dancing is three-dimensional, but a motion picture is two-dimensional.
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