Technique Marcel Marceau
Marcel Marceau's art has developed from a comprehensive and diligent work on the movement, suspension, rhythm, etc.. The education offered is organized around thinking that must guide every action whose musicality and weight transcribe emotion. It gives students the keys to the awareness of his body, his eyes, essential to the stage presence.
Students work on mime CONVENTIONS OF CHARACTERS (defined by attitudes Marcel Marceau to corporaliser emotions, feelings, states ...), THE FIVE SENSES, THE FOUR ELEMENTS, THE BREAKS, THE VISIBLE AND THE INVISIBLE, THE CONCEPT OF METAMORPHOSIS ... to feed the body and dramatic play.
This language created by the Mime Marceau allows students to give free rein to his imagination in improvisation where music is often present to the practice working on poetic rhythm and time.
It leads naturally to the student when creating reflection, artistic research on the composition and interpretation find their fulfillment.
Technique Etienne Decroux
Decroux technique is a teaching based on the study of body mechanics, posture and dynamics. This technique is particularly focused on segmentation and articulation of body movement.
Students work on the decomposition of movement, a comprehensive study of three-dimensionality of movement, dynamic figures specific to mime (strict interpretation and enforcement on topics dealing with an action, a feeling or a state of mind), the different steps as ways to explore the stage space ...
Improvisations accompany the learning program, for implementation of the topics and give students the opportunity to confront the demands of the body play.
The creative workshop
Synthesis techniques Marceau and Decroux blossoms within the framework of the Atelier de Création accompanying each student to his challenge as an artist.
It encourages the student to develop his artist's eye facing the real world, that of all days. From data constraints (duo, group work on a theme ...), the student is confronted with the stages of creation, playwriting, directing choices, mimographie, style, Thurs .. and, in all cases, a work in which he must keep in mind both a proposal but also listening.
When I sculpt, I take a piece of marble of good size that I install in the center of my studio. Then, I visualize what I represent, and when the vision is clear, it remains for me to remove the marble here and there.
(Leonard de Vinci)