As an actor in Paris in the 1920’s, Decroux enrolled in Jacques Copeau’s drama school to improve his voice. Instead, he was fascinated so much by a movement class that he dedicated the rest of his life to its development: le mime corporel. Decroux started by evaluating the art of the actor in the Realistic theatre of his time. He found that the actor was dominated by long texts, big scenery, and heavy costumes. He found that the stories were being told by other arts that had infiltrated the stage and that the only work left for the actor was simply declamation. What about the moments of pause in the text, asked Decroux. What does the actor do in those moments?
With the intention of reestablishing the primacy of the art of the actor in the theatre, Decroux eliminated everything that was imposing itself on the actor. Texts, costumes, scenery, props, music, and the voice were put aside so that the body of the actor, now free of its camouflaging restraints, could start to rediscover expressive movements. Decroux did not wish to permanently abolish these supporting theatrical elements, however he believed that their intervention was impeding the growth of the art of the actor. He therefore used their absence as a strategy for his research and teaching.
The Corporeal Mime technique is structured in three levels of complexity. The first level, the gymnastic exercises (simple and complex scales of the articulations of the body), is a phase for the rediscovery of the possibilities of movement. The second level, expressive and complex exercises (moving statuary, walks, and counterweights), is a phase for the discovery of physical expression. The third level, figures of style and compositions, is a phase for bridging the gap between technique and the creative process.
