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Poza słowami – Marcela Marceau koncepcja milczenia

100%

Krzyżak A., Michalik M.

Przestrzenie Teorii

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2020

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issue 33

85-101

EN

The article deals with the concept of silence developed by Marcel Marceau, one of the founders of contemporary mime. An analysis of the concept of silence is proposed, starting from a broader research, linguistic and philosophical perspective, encompassing the ideas of Martin Heidegger, Maurice Merlau-Ponty, Józef Tischner and Martin Buber, which aims at an interpretation of Marceau’s theatrical concept, which is presented in his work and statements and contains many elements of philosophical anthropology. For Marceau, the human stands in the center, working in a world where words fail. Mime artist and spectator conduct a distinctive dialogue without using words, thus giving rise to reflections and leading to catharsis. Because the scope of the concept is wide, it has been included in the cognitive framework of the anthropology of silence, proving that Marceau’s concept enriches the debate on the anthropology of silence and opens the perspective for further research on his concept of theater.

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Elements of the Mime in Horace’s Epode “Quid tibi vis, mulier”

73%

Kopek W.

Roczniki Humanistyczne

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2019

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vol. 67

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issue 3: Filologia klasyczna - Selected Papers in English

45-61

EN

The Polish version of the article was published in Roczniki Humanistyczne vol. 61, issue 3 (2013). The aim of this article is to discover the literary context for Horace’s Epode 12 by juxtaposing it with Herondas’ mimes, particularly Mime 5, titled The Jealous Woman. The description of the relationship between these works is based on the ancient theory of rhetoric and on elements of Horace’s Ars poetica. It has been established that Epode 12 has numerous features of the literary mime: it is an apparent dialogue (sermocinatio, παρῳδή) recited by a single performer (mime), most probably in the scenery of an ancient feast. A participant in the feast becomes an actor, who first performs the role of a male lover (iuvenis) and then the role of a superannuated female lover (mulier). These character types are typical of both Old and New Comedy styles, but the whole dramatic setting seems to bear the greatest resemblance to Mime 5, in which the same literary protagonists are found in a scene analogous to a lovers’ quarrel. On the one hand, specific rhetorical figures (imitatio / μίμησις) indicate that the literary original was used in a creative manner. On the other, Mime 5 can also be used in the interpretation of Epode 12. This interpretation can be built on the processes of liberation and subjugation as part of the lovers’ relationship (actual subjugation in Mime 5 and metaphorical—financial—in Epode 12, where the iuvenis is the mulier’s “kept man”).

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Elementy mimu w epodzie Horacego „Quid tibi vis, mulier”

58%

Kopek W.

Roczniki Humanistyczne

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2013

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vol. 61

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issue 3: Filologia Klasyczna

5-20

EN

This article aims at discovering the literary context for Horace’s Epode 12 through juxtaposing it against Herondas’ mimes; in particular against Mime V, entitled Jealous. The description of the relationship that obtains between these works relies on the ancient theory of rhetoric and on elements of Ars poetica by Horace. The research helped determine that Epode 12 reveals numerous features that are characteristic of the mime: it is an apparent dialogue (sermocinatio) recited by a single performer (mime), most probably in a scenery of an ancient feast. A participant of the feast becomes an actor, who first performs the role of a male lover (iuvenis), and then he plays an elderly female lover (mulier). These protagonists are typical of old and new comedy styles. Nevertheless, the whole dramatic setting seems to bear the semblance of Mime V, in which the same literary protagonists can be found in the scene of a row between lovers. Specific rhetorical figures (imitatio) indicate, on the one hand, that the literary original was used in a creative manner. On the other, Mime V can also be used in the interpretation of Epode 12. This interpretation can be built on the processes of liberation and subjugation as part of the lovers’ relationship (actual subjugation in Mime V, and metaphorical - financial in Epode 12, where iuvenis is mulier’s “kept man”).

4

Marcel Marceau jako rzecznik mimu współczesnego

51%

Krzyżak A.

Roczniki Kulturoznawcze

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2018

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vol. 9

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issue 2

55-75

PL

Artykuł jest szkicem na temat mimu, formy teatralnej znanej od starożytności, lecz dzisiaj istniejącej w nowej odsłonie. Mim współczesny, powstały na kanwie awangardowych poszukiwań praktyków i teoretyków teatru początków XX wieku, zawdzięcza swą obecną formę twórcom francuskim, takim jak Étienne Decroux, Marcel Marceau i Jean-Louis Barrault. Koncepcja mimu przedstawiona w niniejszej pracy oparta jest na teorii i praktyce Marcela Marceau, mającej szczególny rys filozoficzny. Marceau, poświęcając całe życie propagowaniu idei i techniki mimu współczesnego poprzez spektakle, wywiady i pracę pedagogiczną, stał się jego rzecznikiem na całym świecie. Współcześnie mim to rodzaj teatru, w którym kluczową rolę odgrywają milczenie, stanowiące nowy wymiar ludzkiego istnienia, gdy słowa zawodzą, oraz postać doskonale przygotowanego technicznie aktora-mima, czyniącego na scenie to, co niewidzialne, widzialnym. Artykuł składa się z dwóch części. W pierwszej zarysowano historyczny kontekst mimu. Podjęto również próbę uporządkowania terminologicznego. W drugiej przedstawiono materię mimu współczesnego w aspekcie filozoficznym oraz technicznym na podstawie dokonań Marcela Marceau.

EN

The article is a sketch of the subject of mime, a theatrical form known since the ancient times, but nowadays existing in a new version. A contemporary mime that came into being based on the research of avant-garde theoreticians and practitioners of the early 20th century theatre owes its current shape to the French artists such as Étienne Decroux, Marcel Marceau, and Jean-Louis Barrault. The presented concept of mime is based on Marceau’s theory and practice—both having a particular philosophical touch. Marceau who dedicated his life to promoting theory and methodology of contemporary mime by means of performances, interviews and teaching has become a mime expert whose work has a timeless quality worldwide. These days mime is becoming a kind of theatre where silence plays the key role and becomes a new dimension of a human being when words fail, and where an actor-mime with perfect technical skills makes the invisible visible on stage. The article consists of two parts. The first part outlines a historical context of mime. It also tries to organize its terminology. The second one presents philosophical and technical aspects of contemporary mime on the basis of Marcel Marceau’s work.

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2 Roczniki Humanistyczne

1 Przestrzenie Teorii

1 Roczniki Kulturoznawcze

2 Kopek W.

2 Krzyżak A.

1 Michalik M.

1 2020

1 2019

1 2018

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Poza słowami – Marcela Marceau koncepcja milczenia

Elements of the Mime in Horace’s Epode “Quid tibi vis, mulier”

Elementy mimu w epodzie Horacego „Quid tibi vis, mulier”

Marcel Marceau jako rzecznik mimu współczesnego