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ToutBouge[EverythingMoves]:The(Re)ConstructionoftheBodyinLecoq‐basedPedagogy
ADISSERTATIONSUBMITTEDTOTHEFACULTYOFTHEGRADUATESCHOOL
OFTHEUNIVERSITYOFMINNESOTABY
LauraPurcellGates
INPARTIALFULFILLMENTOFTHEREQUIREMENTSFORTHEDEGREEOF
DOCTOROFPHILOSOPHY
Dr.SonjaKuftinecAdvisor
September2011
©LauraPurcellGates2011
i
Acknowledgements
MyresearchatÉcolePhilippeGaulierwasgenerouslyfundedinpartbythe
UniversityofMinnesotaGraduateSchoolInternationalThesisResearchGrant.Iwasalso
fortunatetoreceivefundingduringmytimeattheUniversityofMinnesotathrough
DepartmentofTheatreArtsandDancetravelawards,theUniversityofMinnesota
GraduateandProfessionalStudentAssemblyTravelGrant,theUniversityofMinnesota
GraduateResearchPartnershipProgramGrant,UniversityofMinnesotaCollegeof
LiberalArtsGraduateStudentSupportAwards,andaUniversityofMinnesotaGraduate
SchoolFellowship.
Thisdissertationwouldnothavebeenpossiblewithoutthesupport,adviceand
encouragementofmydissertationcommittee:SonjaKuftinec,MargaretWerry,Cindy
GarciaandTimothyLensmire.IamparticularlygratefultomyadvisorSonjaforher
incisiveadviceandenthusiasticguidance.
Finally,thankyoutoTobiforrearranginghomelifearoundmywriting,tomy
motherVictoriaforseeingmethroughthedefense,tomyfatherBillforreliablehumor,
andtoallmyfriendsandfamilyforunendingemotionalsupport.
ii
TableofContents
ListofFigures iii
Introduction 1
Chapter1: DisorientationandtheHaptic:DevisingTheMasterandMargarita 32
Chapter2: VentreandCerveau:ContaminationAnxieties
inLateNineteenth‐CenturyFrenchMime 63
Chapter3: PuppetsandBodies:MechanicalversusNaturalinFrenchNeutralMaskTraining 124
Chapter4: LocatingtheSelf:NarrativesandPracticesofAuthenticityinFrenchClownTraining 187
Conclusion 243WorksCited 253
iii
ListofFigures
Figure1: TheHanlon‐Lees 86Figure2: Lebrasnoir 112Figure3: TraditionalVenetianbautamask 142Figure4: StudentsworkingwiththeNeutralMask
inGaulier’sworkshop 144Figure5: Studentswaitingtoreceivefeedback 167Figure6: Gaulierreadytohitthedrum 223
1
Introduction
You:crouchedin thegrasswhile thedevilscreechedup inacarandcavortedtoderanged technomusic; jogged to a set of stairs andwatched a wind‐up bandplayingdementedvaudeville;squintedthroughthegloomandwatchedareal‐lifesilentmovieplayingout intheneardistance; leanedagainstawallwhileahugestudent cast sang a song of heartache and near‐redemption; held your breathwhileyouwalkedthroughthedarkwithcharactershissingsournothings inyourear.
‐QuintonSkinner,ReviewofTheMasterandMargarita1
Inthisreview,QuintonSkinnercapturestheimagisticratherthannarrative
frameworkthatshapedthedevisingofTheMasterandMargarita,anoutdoor,site‐
specificcollaborationmountedbyUniversityofMinnesotatheatreundergraduatesin
September‐October2006.Performerstranslatedpotentimagesfromthenovelinto
embodiedtheatricaleventswhichlooselyfollowMikhailBulgakov’sstoryinhisnovelof
thesamename.Inhisnovel,Bulgakovtellsthestoryofthedevil’svisittotheMoscowof
StalinistRussiaandinvolvementintheloveaffairbetweentheMaster,awriterwhohas
beenvilifiedinliterarycirclesforhisnovelaboutChristandPontiusPilate,and
Margarita,thewomanwhostrikesadealwiththedeviltobereunitedwithherlover.
Theadaptationwasco‐directedbyMichaelSommersandLuverneSeifert,twolocal
theatreartistswhoalsoteachattheuniversity.Sommersteachespuppetryandco‐runs
OpenEyeFigureTheatre,aMinneapolis‐basedpuppetrycompany.Seifertteaches
actingattheuniversityandisaprofessionalactorintheTwinCities;heandSommers
havebothworkedextensivelywiththenow‐defunctThéâtredelaJeuneLune,atheatre
foundedbygraduatesofÉcoleJacquesLecoq.RehearsalsforTheMasterandMargarita
1 Skinner,Quinton."CurtainCall."Citypages27Dec2006,sec.Arts:1.
2
werethereforestronglyinformedbyLecoq’smethodology,includingclownandlejeu
[theplayorthegame].2
DuringrehearsalsforTheMasterandMargaritaIobservedanumberof
pedagogicaleffectsincludingincreasedagencyamongperformers,theabilitytoaccess
embodiedknowledge,andthedevelopmentofcollaborativeworkingrelationships.AsI
exploredthestrategiesforcreatingaspacewithinwhichtheseeffectswerefacilitated,I
arrivedataconceptionoftheusesofdisorientationtocreateadifferenttypeofspace,a
spacethatallowednewpatternsofthoughtandbehaviortooccur.Thisideabecame
thelensthroughwhichIapproachedalaterpractice‐basedstudyoftheNeutralMask
andClownworkshopsatÉcolePhilippeGaulier,inwhichIexaminedthewaysinwhich
studentsandteachersengagedwithideasandpracticesthathavebeenapartofthe
Frenchmimetraditionfromthelatenineteenthcentury,includingthenaturalbody,the
artificialormechanicalbody,andthe“authenticself”.3Thesepracticesareconsidered
2LejeuisaformofimprovisationcentraltoJacquesLecoq’sconceptoftheatricalcreation.Lecoqdefineslejeuas“lorsque,conscientdeladimensionthéâtrale,l’acteurdonneunrythme,unemesure,unedurée,unespace,uneformeàsonimprovisation,pourunpublic”[when,consciousofthetheatricaldimension,theactorgivesarhythm,ameasure,aspace,aformtohisimprovisationforspectators](Corps41;unlessindicatedotherwise,alltranslationsinthischapteraremine).MaskworkincludesNeutralMaskinwhichmovementwithoutexpressionisexplored,LarvalMaskinwhichshapessuggestexpressivity,andCharacterMaskinwhichstrongpersonalitymustbeembodied.Clownisatypeofcharacterandaperformancetechniquethatalsooperateswithinlejeu.ThisfigureisrelatedtocircusandCommediaclowntraditions,butisalsohighlyspecifictoastyledevelopedbyLecoqwithhisstudentsattheschooloverseveraldecades.ThecentralfeatureoftheLecoqclownisopenness—avulnerabilitythatallowsforspontaneityintherehearsalprocess.3 Iuse“authenticself”tomeantheideaofapre‐socializedidentitythatlies“behind”socializedhabitsofthoughtandbehavior,ormovement.Muchactortraininginthetwentiethcenturyhasbeengearedtowardstrippingawaythesehabits;thisincludesmovementtraining(seeEvans2009),voicetraining,forexampleKristenLinklater’ssystemof“FreeingtheNatural
3
partofLecoq‐basedpedagogy,apedagogythatIhavechosentoanalyzeutilizingboth
historiographicandpractice‐basedmethodologiesforitsapproachtotheperformer’s
body.Thisexpandsoncurrentresearch(includingMurray2002and2003andEvans
2009)thatfocusesonandtheorizesthekeyideasthatLecoqespousedbutwhichlacks
currentpractice‐baseddata,astheseexistingstudiesrelyonmemoriesofstudents
ratherthanobservationsintheactualclassroom.Additionally,myresearchlinksLecoq‐
basedpracticetotwentieth‐centurymimebeginningwithJacquesCopeauincontrastto
studiesthatdonotlookfurtherbacktoFrenchmimepracticeinthelatenineteenthand
earlytwentiethcenturieswhichIproposesignificantlyinformedlatertwentieth‐century
developments.InChapter2,therefore,Ianalyzelatenineteenth‐andearlytwentieth‐
centuryFrenchmimepractitionersandtheoristsastheyencountered,producedand
struggledwiththesethemesofmechanizationandauthenticity;inChapters3and4I
turnmyattentiontoGaulier’sclassroomtostudythewaysinwhichstudentsand
teacherswithinatraditiondrawnfromFrenchmimecontinuetoengagewiththese
themes,interrogating,rupturingandreinscribingconventionalnotionsofthebodyand
self.IreturntothesiteofTheMasterandMargaritainChapter1,diggingmoredeeply
intomyconceptofa“pedagogyofdisorientation”andsituatingthisandotherkey
Lecoqideaswithinalargerscholarlyconversation,whichsetsthestageformyanalysis
Voice”(1976),andLecoq‐basedclowntraininginwhichstudentsareencouragedto“discover”theirpersonalclown,generallyidentifiedintheclassroomandinwritings(includingLecoq1997,Fusetti1999andGaulier2007)asthestudent’s“true”self.Iexploreandchallengethisideaofthe“true”or“authentic”selfinmoredetailinChapter4.
4
ofGaulier’sclassroom.Thisintroductionlaysoutthelargerquestionsofmyresearch,
anddetailsmymethodologyandexistingliteratureinthefield.
InthisdissertationIexplorethequestionofhowthebodyhasbeenhistorically
constructedasaperformingagentinLecoq‐basedperformancepedagogythrough
investigatingthewaysinwhichthebodyhasbeenandcontinuestobeasiteof
contestation—revealingunderlyingideasaboutthe“natural”,themechanical,andthe
“authentic”self—withintheFrenchmimetradition.Thisinterestbeganwithmy
personalexperienceofLecoq‐basedpedagogy,inwhichIobservedintersections
betweencontemporaryEuro‐Americanpedagogicalapproachestothebody,which
positionitasanobjecttobecontrolledbythemind,andLecoq‐basedpedagogical
practice,whichpositionsthebodyasathinkingagent.Ichosetostudythewaysin
whichthebodyhasbeenconstructedandmobilizedwithintheLecoqpedagogical
traditionbyanalyzingspecificclassroompracticesattheLecoq‐basedÉcolePhilippe
Gaulier,andtracingthemesthatemerged—includingtheideaofthe“natural”versus
the“mechanical”bodyandconcurrentthemesofemotionandthe“authentic”self—
backthroughtheshiftingFrenchmimetraditionofthelatenineteenthandearly
twentiethcenturies.Ihaveundertakenthisresearch,therefore,inordertounderstand
howthebodyisbothconstructedandmobilized,indialogueandintensionwith
normativeconstructionsofthebody,withinaspecificpedagogicalcontext.Thiswork
represents,therefore,aninterventionincurrentactingtheorythatisincreasingly
concernedwithbothLecoq‐basedpracticeandquestionsofthebodyandof
5
authenticity;myresearchdigsmoredeeplyintotheideologiesunderpinningthebroad
Lecoq‐basedpedagogicalpracticesoftoday,openinguparichsiteofinquiryintothe
waysinwhichbodyandselfhavebeenandcontinuetobeconstructedandcontested
withinactortraining.
In1956,JacquesLecoqopenedaphysicaltheatretrainingschoolinParis.Lecoq
shapedhistrainingandpedagogyaroundaFrenchtraditionofmimeandmaskwork
whosegenealogicalrootsincludedtheCommediadell’Artetradition,particularlyasit
wasrevivedandrevisedinnineteenthtoearlytwentiethcenturyFrenchmimeand
clown.Lecoqdiedin1999,promptingadisseminationofhisteachingsasLecoq‐trained
pedagoguesspreadthroughouttheworld.Asatheatrepractitionerandpedagogue,I
havefoundtheintersectionbetweenLecoq‐styletrainingandstudentreceptionasks
theperformertocultivatea“thinkingbody,”allowingactionsonstagetobeprompted
bythebodyratherthanthemind—“themind”figuredastheCartesiancogito,the
“ghostinthemachine,”aparadigmthatpositionsmindastranscendentandbodyas
mechanicalobject.InLecoq‐basedpedagogy,thebodyisprivilegedaslocusof
knowledgeandcreativegeneration.Thisfocuscontainsanimplicit(butpossibly
pedagogicallynecessary)contradiction:whileattemptingtoundermineoratleast
complicateCartesiandualismbyprivilegingthebodyasthinkingmechanism,the
languageusedinactualpracticeintheclassroomreinscribesthisverydualismby
definingthebodyagainstthe(de‐privileged)mind.InGaulier’sclassroom,forexample,
studentsareencouragedtoprivilegemovementabovetextormentalimage.Acommon
6
refrainofGiovanniFusetti,aLecoq‐trainedpedagogue,is“Ignoreyourmind—listento
yourbody.”4Thisallegorizingofthebody—thebodybecomesacommunicatorof
spokenlanguage—pointstothenecessaryhybridityandcontradictionwithinthe
conceptofWesternmind/bodyideology.IarguethatbyemployingwhatIcalla
“pedagogyofdisorientation”,Gaulierinsistsonamoment‐to‐momentawarenessofthe
bodyunencumberedbyhabitsofthoughtandmovement.Thenewhabitsofthought
andmovementthatGaulier’spedagogicalmethodencouragesstudentstoencounteris
whereIsituatemyanalysis:specifically,whatunderstandingsarerevealedintheLecoq‐
basedclassroomabouttherelationshipofbodilymovementstothoughts,mental
images,language,emotions,andtheself?Howdidtheseconstructionsofthebodyand
selfemergeinLecoq‐basedpedagogy,howaretheydeployedinatwenty‐firstcentury
Lecoq‐basedclassroom,andwhatdostudents’encounterswiththemrevealabouttheir
existingexperiencesandideasoftheirbodiesandselves?
Inordertoexplorethesequestions,Itracethedevelopmentoftheideaofthe
“natural”versusthe“mechanical”bodyalongsideideasofthe“true”or“authentic”self
backthroughthelatenineteenthandearlytwentiethcenturiesinFrenchmime
tradition.Ichosethesehistoricalerasforseveralreasons.First,Lecoqwasgreatly
influencedbythepedagogicalpracticesofearlytwentieth‐centuryFrenchmime
practitioners,particularlyJacquesCopeau.Thisisalinkthathasbeenstudiedand
documentedbyscholarsincludingSimonMurray(2003),TonyGardner(2008),Mark
4 Fromnotestakenduring“TheRedNose”,aMay‐June2007workshopconductedbyGiovanniFusettiinMinneapolis,MN.
7
Evans(2009),andmostextensivelybyMiraFelnerinher1985bookApostlesofSilence:
TheModernFrenchMimes.MystudygoesbackfurtherthanCopeau,however,to
Frenchmimeartistsofthelatenineteenthandearlytwentiethcenturiesincluding
Champfleury,GeorgesWagueandPaulHugounet,who,Iargue,advocatedand
developedaminimalistmimetechniqueamidstshiftingideasaboutthe“natural”body,
bothnostalgicandanxious.BythetimeCopeaufoundedhismimeschoolÉcoledu
Vieux‐ColombierinParisin1920,theideaofthe“natural”asasought‐afterstatefor
actorshadbecomeentrenchedenoughforCopeauandothermimeartistsoftheera,
includingÉtienneDecrouxandJean‐LouisBarrault.tostructuretheirpedagogical
practicesaroundanidealofproducingthe“natural”body.Thisidealwenthand‐in‐hand
withaconstructionofthe“authentic”selfasrevealedthroughpracticesthatstripthe
bodyofitssocializedhabits;bothassumptionscontinuetobediscernedinLecoq‐based
pedagogy.BylookingbackfurtherthanCopeauathowtheconstructionsofthe
“natural”bodyand“authentic”selfthatCopeauandhiscolleaguesdrewonwere
producedwithinFrenchmime,andplacingthesealongsideananalysisofhowstudents
inthetwenty‐firstcenturyengagewiththisideologyintheclassroom,Iexplorehowand
whereananalysisofLecoq‐basedpedagogyexposesfissuresintheseemingly
uncontaminatedspaceofsuchideology,andhowthosefissuresandthepedagogical
alternativestotraditionalapproachesintersectandinteractwiththeideologieswith
whichtheyareengaging.
8
Methodologyandreviewofliterature
Onestrandofmyresearchishistoriographic:ItracethegenealogyofLecoq‐
basedpedagogyinordertoexplorewhyandhowcertaindiscoursesofthebody—
scientific,pedagogical,aesthetic—rationalizewaysofthinkingabouttheactor’sbody.
Myresearchdoesnotmapoutanevolutionarypathofthispedagogy(amappingthat
situatespasteventsasforerunnersorless‐developedversionsofLecoq’spedagogy).
RatherIfollowJosephRoach’sleadbytracingthegenealogyoftheintersectionsof
actingtheoriesandvariousframingsofthebodyas,forexample,materialexcess,orthe
Cartesianparadigmofthebodyasmachine.Ifocusonthelatenineteenthtoearly
twentiethcenturiesinParis,examiningthechangesthatoccurredduringthattime
withintheFrenchmimetraditiontoconstructionsandunderstandingsofthe
performer’sbody.InChapter2IexamineperformancesofPierrot,aclown/mimewith
rootsinthelateseventeenthcenturyCommediadell’ArteperformancesinParis.The
performedfigureofPierrotshiftedduringthelatenineteenthcenturybetweena
“natural”,basefigurewithoverflowingcorporealityandasinister,automaton‐likestage
presencemarkedbyamask‐likewhiteface.Acorrespondingshiftoccurredinthe
gesturalstyleofmime,awayfromthesetgesturesofDelsartian‐inspired
representationsofthepassionsandtowardsaminimalist,subtlestyle.Thisdualshiftis
documentedinletters,memoirs,reviewsandessaysbyperformers,criticsandliterary
theorists,aswellasindramatictextsandmusicalscoresofPierrotpantomimes.I
examinethesearchivaldocumentsforthelanguagetheyusethatrevealsassumptions
9
thatperformerswhoplayedPierrotandthecriticswhowroteaboutthemweredrawing
onabouttheperformingbody,andhowthisunderstandingshiftedasthefigure’s
appearanceandperformancestylechanged.Iarguethatthelanguageusedtodescribe
the“natural”versustheautomaton‐likePierrot,aswellthevaluingplaceduponthe
minimalistgesturalstyle,revealwhatIterm“contaminationanxieties”—anxietiesabout
racial,classandgenderedcontaminationofthebody—thatplayedoutuponthe
performedfigureofPierrot.Sourcesforthisexplorationalsoincludedramatictextsof
performedPierrotpiecesincludingLebrasnoir[Theblackarm](1856),Crimeet
châtiment[Crimeandpunishment](1891)andPierrotassassindesafemme[Pierrot
assassinofhiswife](1888);TristanRémy’sbiographyofJean‐GaspardDeburau;Jules
Janin’sdetailedaccountsofperformancesattheThéâtredesFunambules(where
Deburau’sPierrotfirstappearedonstage);responsestoPierrotinmemoirs,letters,
reviewsandessaysofwritersincludingThéophileGautier,Champfleury,andCatulle
Mendès;andmusicalscoresofpantomimesfeaturingPierrotincludingPierrotquipleure
etPierrotquirit[PierrotwhocriesandPierrotwholaughs](1899),Barbe‐Bleuette[Blue‐
Beard](1890)andPierrotassassindesafemme[Pierrotassassinofhiswife](1888).I
lookattheemergenceofmechanisminbothscientificandtheatricaldiscourse,as
describedintheatricaltextsincludingDiderot’sLeparadoxesurlecomédien[The
paradoxoftheactor]in1830,HeinrichvonKleist’sÜberdasMarionettentheater[Onthe
MarionetteTheatre]in1810,andEdwardGordonCraig’s“TheActorandthe
Übermarionette”in1908.ThemainquestionsIaddressare:Whatarethe
10
understandingsofthebodythatinfluencedthewayanactorperformedPierrot?How
didthoseunderstandingsandtechniquesshiftduringthenineteenthcenturyandinto
theearlytwentiethcentury?Whataretheintersectionsbetweentheseshiftsandlarger
discoursesonactingandtheactor’sbody?
Theotherstrandofmyresearchispractice‐based:bycloselyexaminingwhat
happensinanactualphysicaltheatrerehearsalsite—TheMasterandMargarita—and
classroom—PhilippeGaulier’sMasqueneutre[Neutralmask]andClownworkshops—I
analyzetheintersectionbetweenpedagogicstyleandstudent/actorreception,an
investigationthatprovidesspecificdocumentationonLecoq‐basedpedagogyasitis
currentlypracticed.Mycentralpractice‐basedresearchquestionis:Whatmeaningis
madearoundtheconstructionofthebodybystudentswhoaresteepedinWestern
mind/bodydualismencounteringapedagogythatappearstochallengethatideology?
Myresearchfocusistiedtothequestionofpedagogicalefficacy:ifphysicaltheatreis
baseduponadifferentunderstandingofthebody,whatthestudentsactuallylearnand
areabletoaccessintheclassroomiscrucialtothequestionofwhethersuchanew
understandingisbeingenacted.Ideterminedhowthestudentsmade“meaning”
throughtheirowndescriptionsoftheirexperience,theirquestionsandcommentsin
class,aswellascloseobservationoftheirbodiesintheclassroom,particularlyastheir
languageaboutthebodyandtheirmovementsshiftedbasedonpedagogical
interventions.IcontinuallyengagedwiththequestionofhowdoIreadandanalyze
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discursivepracticesofthebody,asthetwodomainscentraltomypractice‐based
researchdesignarelanguageandmovement.
Lookingatbotharehearsalandaclassroomsiteallowedmetoexaminephysical
theatrepracticesframeddifferentlybytheirinstitutionalandpedagogicalcodings.
Rehearsalsforauniversityproductionserveadualfunction:pedagogical(studentsare
learningproductionskillsincludingrehearsingarole,learninglines,blocking,and
workingwithinaproductionteam)andfunctional(eachmomentofrehearsalexistsasa
steptowardsafinalproductthatwillbeperformedbeforeanaudience).Inthecaseof
TheMasterandMargaritaattheUniversityofMinnesota,thepedagogicallessons
includedthatofdevising,asmoststudentsinvolvedintheproductionhadlittletono
priorexperiencewiththismethodoftheatre‐making.Becauseoftheinteraction
betweenthepedagogicalandthefunctional,however,thelessonsabouthowtodevise
hadtobefoldedintotheprocessofactuallymakingtheshow—sothestudentslearned
howtodevisebyactuallydoingit,undertimeconstraintsandwithanintendedresulting
product.ThislargelymeantthatthedirectorsSeifertandSommers,bothofwhomhad
yearsofexperienceindevising,hadtoresorttoon‐the‐spotstrategiesfor“fixing”
studenthabitsofrehearsalbehaviorthatworkedagainstadevisingprocess.Withthe
exceptionofonespeechthatSeifertgaveonthefirstdayofrehearsalsinwhichhe
introducedtheconceptof“proposing”ideasandpositionedthisascentraltothe
collaborativerehearsalprocess,theresimplywasnotenoughtimetoteachstudents
devisingmethodsastheywouldbetaughtinaclassroomwithtimeforexercises,
12
reflectionandanalysis.SeifertandSommersthereforetaughtthemethodsthrough
warm‐upgamesandonanadhocbasis,explainingtostudentsinthemomentof
devisinghowtodoit.Myobservationsofthisprocessledmetodeveloptheideaofa
“pedagogyofdisorientation”thatoperatedasastrategytoteachstudentsbehaviors
thatwereunfamiliartothem;inChapter1Ianalyzesomeofthekeyconceptsaround
thistypeofpedagogy,andexaminethewaysinwhichitwasdeployedinTheMaster
andMargaritarehearsalsite.
ThestructureoftheclassroomsiteattheÉcolePhilippeGaulierallowedmeto
focusonthespecificpedagogicalpracticesusedbyGaulierandanalyzetheideasand
assumptionsthatlaybehindthem.TheÉcolePhilippeGaulierisoneofseveralLecoq‐
basedtrainingschoolsthatfocusonthepedagogyofoneteacher(includingtheÉcole
internationaledethéâtreJacquesLecoqandGiovanniFusetti’sHèlikos:Scuola
InternazionaledeCreazioneTeatrale),followingthetwentieth‐centuryactortraining
trendinEuropeandtheUnitedStatesofmethodsdevelopedbyandattributedtoone
figure.GaulierbegandevelopinghispedagogyatJacquesLecoq’sschool,whichlinks
himtothe“Lecoq‐based”pedagogicaltraditionanditsconnectionstoearlytwentieth‐
centuryFrenchmimepractitionerssuchasCopeauandDecroux;hispedagogical
techniques,however,wereuniqueinmanywaystohim,meaningthata“Gaulier‐
trained”clowntakesonaparticularmeaningthatdiffersfrom,forexample,aFusetti‐
trainedorWright‐trainedclown.OneoftheuniqueaspectsofGaulier’sclassroomwas
itsframingasaparodyofanauthoritarianclassroom,inwhichheperformedtheroleof
13
thestern,highly‐criticalteacher;heandthestudentsunderstoodthisasaclown
performanceduetohisdeliberatedistancingofhimselffromtherolethroughhis
displaysof“pleasure”inperformingit—afunctionoflejeu[theplayorthegame]as
aestheticdistancethatIanalyzeinChapter3.Thisframingiskeytounderstanding
clownperformance:asIdiscussinChapter4,theclownisfunnywhenheattemptstodo
something(includingmakingtheaudiencelaugh)andfails;thefailuremakesthe
audiencelaugh.However,thislaughteronlyoccurswithintheframingofaclown
performance,whentheaudienceinterpretsthefailureasaperformance,aswatchinga
personactuallyfailtodosomethingtendstoresultinspectatorsfeelinguncomfortable
orwhatFusettitermssympathique(Idiscussthisconceptinrelationtodifferenttypes
oflaughterinChapter4).Gaulier’sclownclassroomoperatesasasortofliminalspace
betweentheclownperformance—anaudienceinatheaterwatchingaclown—andthe
actualfailureofapersonattemptingtodosomething,bypositioningthestudents
themselvesasclowns.ThisispossiblebecauseGaulierframestheclassroomitselfasa
performancethroughhisparodicrepresentationoftheauthoritarianteacher,which
meansthateverythingastudentdoesintheclassroomisre‐framedasaperformance.
Thestudentexperiencesherself—notacharactersheisperforming—actuallyfailing
repeatedlyonstage(theinstitutionalcodingofthestudentgenuinelyattemptingto
pleasetheteacherstillexists),yetthespectatorsintheclassroomcanlaughatthis
failureandthereactionitprovokesbecausewithintheframingoftheclassroom,they
14
arewatchingaclownperformance.Idiscusstheimplicationsofthispositioningon
Gaulier’sidentificationofthestudent’s“trueself”inChapter4.
Mypractice‐basedresearchwasapprovedbytheInstitutionalReviewBoardat
theUniversityofMinnesotain2007andutilizedaparticipant‐observationapproach.I
waspresentforeverydayoftheworkshops.Iusedamethodologyoftriangulation,
collectingmultiplesourcesofdataincludingarchival,interviewsandobservationsto
developconverginglinesofinquiry.Ilookedforhowdifferentsourcesbothagreeand
disagree,asmygoalwasnottodeveloponehomogenous,cohesivenarrativebutrather
toallowforoverlappinganddissentinglayersofnarrativethatinformedmycentral
researchquestionofhowthebodyisbothconstructedandmobilized,indialogueandin
tensionwithnormativeconstructionsofthebodyandtheself,withinaspecific
pedagogicalcontext.Datacollectionincludedobservations(documentedthroughmy
ownwrittennotesandbodysketchesbasedonclassroomobservationsofphysical
theatreexercisesandrehearsaltechniques,photographsandvideodocumentationof
classroompractices,andstudentjournalsandnotesthatIreceivedpermissiontouse),
open‐endedinterviewswithstudentsandteachers,andsemistructuredinterviewsafter
theclass/rehearsalprocesseswerecompleted.5Theopen‐endedinterviewstookplace
5 “Open‐ended”interviewsareguidedbyasetofgeneralquestions(inthiscasequestionsbasedonmyresearchfocusandclassroomobservations),butgiverespondentsagreatdealofflexibilityinarticulatingtheirresponses,meaningthatresponsesmayoccasionallystrayfromtheresearchfocusbutmayalsoprovidenewdirectionsforresearch(Schensuletal135).“Semistructured”interviewscombinetheflexibilityofopen‐endedinterviewswithamorefocuseddirectionalitytothequestions,andareusedtofurtherclarifyspecificfactorsinthestudy(Schensuletal149‐150).
15
inthe“in‐between”timesoftheworkshop—duringbreaks,immediatelyafterclass,
duringsocialgatherings.Theseweregenerallybriefandinformal,andfocusedona
particularpointofinterest—forexample,askingGauliertoclarifyastatementmade
duringclasssuchas“Youhavenotgivenyourguts,”oraskingastudenttoexpandon
theiridea,raisedinclass,ofwhatperformingone’s“trueself”meant.Iconductedthe
semistructuredinterviewsduringtheweekfollowingeachworkshop.Thesewerefrom
onetotwohours,andwerestructuredaroundkeypointsthatIhadobservedinthe
classroomsuchastheideaofemotioninneutralmaskperformance,theperformanceof
the“trueself”withinclowntraining,andthenotionof“beauty”asamarkerofa
successful,openperformancestyle.Boththeopen‐endedandthesemistructured
interviewswereinformedbymyownresearchquestionssuchas:Whatistheteacher’s
intentionbehindspecificpedagogicalstrategiessuchasinstructingstudentsto“Puton
themaskanddonotletyourbodyhaveapast”orbangingadrumunexpectedly?What
arethestudents’perceptionsandinterpretationsofsuchpedagogicalstrategies?What
isastudent’sexperientialandinterpretivedescriptionofparticularmomentsoftension
ordifficultywhileengagedinanexercise?Whatlanguagedotheteacherandstudents
usetotalkaboutthebodyandtheself?Dodifferencesemergeinthesedescriptionsat
differenttimesinthetraining?Iusedthisdatatolookforevidenceofunderlying
ideologiesofthebodyandtheself,suchaslanguagereferringtoa“trueself”or
pointingtotheeyeswhilediscussingastudent’sperformanceof“beauty”,andtoask
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whetherinterventionsintheseideologiesappeartohaveoccurred,andwhatthese
interventionslooklike.
Criticalpedagogyandthebody
Myresearchdrawsfromthefieldsofcriticalpedagogy,theoreticalexplorations
ofthebodyandself,andactingtheory.Idrawoncriticalpedagogicaltheoristsinmy
focusonhowthebodyissituatedandmobilizedintheclassroom.PaoloFreire’snotion
of“humanization”throughadialogicrelationshipbetweenstudentandteacherpoints
totheimportanceofunderstandingknowledgeassituatedandcontextual(1970).This
model,however,doesnotaddressthebodyintheclassroom;indeed,severalcritical
pedagogicaltheoristshaverecentlycalledattentiontotheabsenceofthebodyin
criticalpedagogy,includingHenryGiroux(1988),PeterMcLaren(1995)andSherry
Shapiro(1999).Others,suchasJillDolan(2005),bellhooks(1994),andMargaretWerry
andRóisínO’Gorman(2007),havepointedtothelackofseriousdiscussionofaffect.In
herchapter“Re‐MemberingtheBodyinCriticalPedagogy”inPedagogyandthePolitics
oftheBody:ACriticalPraxis(1999),Shapirolooksathowsituatedknowledgeis
“incorporatedbythehumansubject,and…inscribedinandonthebodyasalived
process”(79).IfindShapiro’sworkusefulinitsattempttoarticulateanewpedagogical
modelthatunderstandsallknowledgeasbody‐mediated,andparticularlyherattention
tothe“ocularization”ofpedagogythatisfoundeveninworkonthebody,inwhich
pedagogicalprocessandtheorystructure“seeing”as“knowing.”Shapiro’spremise,and
17
theworkshedoestore‐imagineknowledgeincorporealterms,aidsmypractice‐based
engagementwithsuchseemingcontradictionsasGaulier’slanguageofvisualityinthe
NeutralMaskworkshop:“Wemustseeherjoy,”indicatingthataffectistobeshown
visuallyonthebodyandreadthroughtheeyesofthespectators;otherpedagogical
instructions,however,directlycontradictedthisindication(“Donotshow,justdo,”for
example).
Muchofthepedagogicalliteratureonphysicaltheatrefocusesonexercisesand
goalsofthetraining,utilizingalanguagethatrevealstheideologicalencounterwith
Westernmind/bodydualism(specificallyphysicaltheatre’sconstructionofa“thinking
body”)withoutinterrogatingit.ThreenotableexceptionsarePhillipZarrilli(2002),Philip
Auslander(2002),andJosephRoach(1985).InhisIntroductiontothefirstsectionofthe
compilationActing(Re)Considered:ATheoreticalandPracticalGuide(2002),Phillip
Zarrilliaddressesthequestionofmind/bodydualismandtheatricalpedagogical
(supposed)privilegingofthebodybytracingtheactingsystemsofDelsarte,
Stanislavsky,Meyerholdandothersthroughamodernistobjectivityparadigmthathe
arguesinformedtheir“systems”.Helocatesaparadigmaticshiftinmind/bodydualityin
thephenomenologicalchallengeofMerleau‐Ponty,tracesthisinfluencethroughthe
avant‐gardetheatricalmovementsofthe1960s,anddiscussestheinfluencesofArtaud,
Grotowski,SchechnerandLecoqonchallengestothetraditionaldualistapproach.
Zarrillistruggleswiththequestionofhowtorevisetheatricalpedagogicallanguage
withoutsimplyreplacingonemodernist“truthclaims”systemwithanother,concluding
18
thatthelanguagemustcontinuetoshiftandadapttoparticularcontextsandparticular
purposes.
Positioningthebodyasthesiteofcreativeimpetushasthepotentialtodisturb
normative,modernistconceptionsoftheselfasstableidentitybasedonalogocentric
hierarchyofmindasfoundationoftruth.IfindPhilipAuslander’sreadingof
performancetheorythroughthelensofDerrida’scritiqueofthis“metaphysicsof
presence”in“‘JustBeYourSelf’:Logocentrismanddifferenceinperformancetheory”
(2002)usefulforinterrogatingthewaysinwhichtext‐basedactingtechniquesreinscribe
andmaintainanEnlightenment‐inheritedideologyofpresence.Auslanderexaminesthe
performancetheoryofStanislavski,BrechtandGrotowskifortheirrelianceuponand
insistenceonaccesstoanactor’s“self.”IwishtoextendthisanalysistoLecoq‐based
pedagogy,inwhichaconstructoftheperformer’s“trueself”—inclownwork,thegoalis
to“reveal”the“deepestself”oftheperformer—existsalongsidetechniquesthat
disruptconventionalnotionsofstable,linearidentitybyrelocatingconsciousnessto
embodiedprocessesandinsistingonamoment‐to‐momentawarenessofacontinually
shiftingcreativeprocess.
InThePlayer’sPassion:StudiesintheScienceofActing(1985),Roachtracesthe
intersectionsofactingtheoriesandscientificdiscoursesonthebody.FollowingKuhn
andFoucaultintheirrejectionoftheevolutionaryviewofknowledgeaccretion,Roach
arguesthat“eachactingstyleandthetheoriesthatexplainandjustifyitarerightand
naturalforthehistoricalperiodinwhichtheyaredevelopedandduringwhichtheyare
19
accepted,”andpositionshisprojectasarestorationof“themeaningofoutmoded
terminologyandexplanatoryprinciples”asregardsscientificdiscourseonthebody(15).
Hisworkprovidesmewithastrongmodelforundertakingthiskindofhistorical
research,asIexaminephilosophicaldiscoursesonthebodyastheyintersectwithacting
theoriesinlatenineteenth‐andearlytwentieth‐centuryFrenchmime,andlater
twentieth‐centuryLecoq‐basedactingtraining.
Lecoq‐stylepedagogy
Muchoftheliteratureonphysicaltheatre/Lecoq‐stylepedagogyisquiterecent,and
stemsfromthe2000publicationofTheMovingBody:TeachingCreativeTheatre,David
Bradby’sEnglishtranslationofLecoq’s1997LeCorpspoétique:unenseignementdela
créationthéâtrale.InthisbookLecoqlaysoutthepedagogicaltrajectoryofÉcole
JacquesLecoqinParis,anddiscusseshisimpetusforstartingtheschoolandthe
influencesthatshapedhispedagogy,whichisframedwithinatwo‐yeartraining
programthathehaddevelopedfortheschool,aphysicalandmovement‐based
programcenteredonthestructuringprincipleoflejeu[theplayorthegame]and
culminatingchronologicallyinanexplorationofClown.Lecoqdescribeshowhedrewon
multipleanddiversetraditionsofphysicaltheatre,maskandmime,mostheavily
influencedbytheCommediadell’Arte.Duringthehalfcenturysincetheschoolopened,
therehasbeenaproliferationofpedagogicalandtheatricalsitesthatutilizetechniques
oflejeu,includingmaskandclown,astheyweresynthesizedandsystematizedby
20
Lecoq,includingbutnotlimitedtoÉcolePhilippeGaulierinParis,PierreByland
workshopsinSwitzerlandandDell’ArteSchoolofPhysicalTheatreinNorthern
California,andtheatrecompaniesComplicitéinLondon,PigIronTheatreinPhiladelphia
andThéâtredelaJeuneLuneinMinneapolis.
Lecoq’sdeathin1999markedaturningpointfortheemergingwrittenarchive
abouthispedagogy.Priorto1999onlyahandfulofarticlesandbooksectionshad
appearedthatdiscussedhiswork;theseincludedwritingsthatfocusedonLecoq’s
approachtomovementinmimesuchasBariRolfe’s“TheMimeofJacquesLecoq”
(1972)inwhichhepresentsanoverviewofLecoq’spedagogy.DiscussionsofLecoq’suse
oftheNeutralMaskappearedinSearsEldridgeandHollisHuston’s“ActorTrainingin
theNeutralMask”(1978,republishedin2002)andAnthonyFrostandRalphYarrow’s
ImprovisationinDrama(1990).ThomasLeabhart’sModernandPost‐modernMime
(1989)containsonechapteronLecoqthattracesthedevelopmentofhispedagogyand
theopeningofhisschoolinParis.ArguablythemostcomprehensiveaccountofLecoq’s
teachings,aswellasthatofearlytwentieth‐centuryFrenchmimesincludingJacques
Copeau,ÉtienneDecrouxandJean‐LouisBarrault,isMiraFelner’sApostlesofSilence:
TheModernFrenchMimes(1985),inwhichshechroniclesthedevelopmentofFrench
mimeinthetwentiethcenturybeginningwithCopeauandendingwithLecoq.Iboth
drawonFelner’sextensivedocumentationofthedevelopmentofFrenchmime
pedagogy,andgofurtherbylinkingittotheideaofthe“natural”bodyasitwas
constructedandcontestedinthelatenineteenthcentury.Itherebydrawaconnection
21
betweenearlytwentieth‐centuryFrenchmimepractitionerswiththemimepractices
thatprecededthem,andtheirmobilizationofthebodywithconcurrentandpreceding
discoursesonthebody,inordertomapashiftinthewaythe“natural”bodywas
understoodandvalued,ashiftthatcontinuestoresonateincontemporaryphysical
theatreclassrooms.
Lecoqpublishedseveralwritingsabouthisownpractice,includinganarticleon
hisstyleofmime,“Mime–Movement–Theatre”,in1973(translatedbyKatFoleyand
JuliaDevlin),inwhichhediscussedhisparticularformofmimeasdistinctfromthe
pantomimeblanche[whitemime]ofthenineteenthcenturyinitsfocusonpure
movement—whatLecoqcallslefond[thefoundation]—ratherthangesturaltranslations
oflanguage.In1987heeditedandcontributedchapterstoLeThéâtredugeste:mimes
etacteurs(publishedinEnglishin2006asTheatreofMovementandGesture)inwhich
hediscussedthetransitionofnineteenth‐centurypantomimeblancheintotwentieth
centurymime,arguingthatthelatter(whichhecalls“mime”incontrastto
“pantomime”)islessrigidandformalizedthantheformer,andinaseparateessay
consideredthewaysinwhichgesturalstylevariesbasedongeographicaloriginand
societalroles.Hismostfamousandfar‐reachingbookhasbeenTheMovingBody
(originallyLeCorpspoétique).BothLeThéâtredugesteandLeCorpspoétiquewereonly
translatedintoEnglishfollowingLecoq’sdeath,whenaninterestaroseamongformer
students,teachersfromtheschool,andpractitionersaroundarchivinghisteachings.
22
MuchofthewritingonLecoqandhispedagogyhasbeenpublishedsince1999,
includingtranslationsofLeThéâtredugesteandLeCorpspoétique.Theremaining
workscanbedividedintothreebroadcategories:practicalwritingsthatdrawonLecoq
orcontainphysicaltheatreartists’re‐workingsofLecoq‐basedexercises(including
Callery2001,Wright2007,andGaulier2007),writingsbyoraboutformerstudentsthat
focusonthewaysinwhichLecoq’steachingshaveinformedtheircurrenttheatrical
practice(includingSchechner1999,Mason2002,andShrubsall2002),and—closestto
myownwork—writingsthatdocumentandtheorizethepedagogy(includingWright
2002,Murray2002and2003,Peacock2009,andEvans2009).
Thefirstcategory—practicalwritingsthatdrawonLecoqorcontainingre‐
workingsofLecoq‐basedexercises—includeDymphnaCallery’sThroughtheBody:A
PracticalGuidetoPhysicalTheatre(2001)whichfocusesonexercisesforactivating
body‐basedplay,andcontainsabriefsectiononthedivergenceofthephysicaltheatre
pedagogicalsystemfromtraditionalWesterntheatricalpedagogies.JohnWright,
anotherLecoq‐trainedpractitionerwhonowlivesandteachesphysicaltheatrein
London,publishedWhyIsThatSoFunny?APracticalExplorationofPhysicalComedyin
2007,combiningdescriptionsofclassroom‐basedexerciseswithpassagesonthe
philosophythatundergirdsphysicaltheatre.InNovember2007PhilippeGaulier
publishedLeGégèneur:jeuxlumièrethéâtre/TheTormentor:lejeulighttheatre,a
descriptionofhisownbrandofpedagogythatisbothbasedinanddivergesfrom
Lecoq’sstyle,chieflyaroundthequestionoftheperformer’sidentificationwiththat
23
whichthebodyisperforming(Lecoqbelievedthata“melding”ofsortsshouldoccur,
andGaulierfeltthereneededtobeaseparationbetweentheperformer’s“self”and
thatwhichtheperformer’sbodywasplaying).6Gaulier’stextprovidesarich
compendiumofthelanguageusedinhisclassrooms,languagewhichisoften
intentionallyvagueasapartofapedagogicalstrategytoavoidoverlyreducingthe
pedagogicalprocesstoastep‐by‐stepteleologicalmodel,anexampleofwhatIcallhis
“pedagogyofdisorientation”,whichIexploreingreaterdetailinChapter1.Whilethese
pedagogicalsourcematerialsprovideawealthofinformationaboutpedagogical
technique—andGaulier’stextinparticularprovidesmewithmaterialforexamininghis
specificpedagogicallanguageandpractice—noneexaminestheideologiesofbodyand
selfthatinformthepedagogicalpractice.
Thesecondcategory—writingsthatdiscussthewaysinwhichLecoq’spedagogy
hasinformedlaterartisticpractice—includesRichardSchechner’s1999interviewwith
JulieTaymorinTheDramaReviewinwhichshediscussestheinfluenceofLecoq’smask
workonherlaterartisticwork,particularlyTheLionKing.In“TheWellofPossibilities:
TheoreticalandPracticalusesofLecoq’sTeaching”(2002)BimMasonreflectsonthe
waysinwhichLecoq’steachingshavebeenusefultohimasapractitionerofstreet
theatreoverthepast10years,particularlyhisuseofmovementtrainingtoconstruct
physicalroutines.In“JosHouben:UnderstandingtheNeutralMask”(2002)Anthony
6ThefirsthalfofGaulier’sbookiswritteninFrench,andthesecondhalfishisEnglishtranslation;allsubsequentquotesfromthebookinthischapterincludebothhisFrenchandEnglishversions.
24
ShrubsallexplorestheatreteacherHouben’sintegrationofneutralmask(influencedby
histrainingwithLecoq)withMosheFeldenkrais’s‘AwarenessThroughMovement’
program.HecomparesHoubenandLecoq’sapproachesbystudyinga1996workshop
thatHoubenconductedinEdinburgh.ShrubsallfocusesmoreonFeldenkraisthanon
Lecoq,andhisaccountoftheworkshopfocusesonpracticeratherthanideological
background.
WritingsthatdocumentandtheorizeLecoq’spedagogy,thethirdcategory,
includeWright’s“TheMasksofJacquesLecoq”(2002)inwhichhediscussesLecoq’s
pedagogyofvianegativaandhisrelationshipswithbothCopeauandAmletoSartori
(fromwhomhelearnedmask‐makingskills).InSeriousPlay:ModernClownPerformance
(1999)LouisePeacockdiscussesLecoq’sdefinitionoftheclownandLecoq‐basedclown
trainingpractices(32‐8).TheworkofEvans(2009)andMurray(2002,2003and2007)is
mostcloselyconnectedtomyresearch,inthattheybothinterrogateLecoq’spedagogy
withreferencetotheunderlyingideologiesofthebodyandselfthatinformit.In
MovementTrainingfortheModernActor(2009),Evansanalyzesmovementtrainingfor
professionalactorsintheUKthroughanexaminationofmovementprinciplesincluding
thenaturalandneutralbody.Hisresearchincludesinterviewswithstudentsattheatre
schoolsinEnglandandattheÉcoleJacquesLecoq,anddetailedanalysesofideologiesof
thebodyastheyinfluencedactortraininginEnglandandFrancefromthenineteenth
centurytothepresent.MyresearchexpandsonEvans’sworkincontent—asfocusing
specificallyontheperformedFrenchmimebodyallowsmetoconductamoredetailed
25
analysisofhowparticularideologiesoperateinthisspecificsite—andinmethodology—
asIconductpractice‐basedresearchfromwithinanactualclassroom.Murray’sJacques
Lecoq(2003)ispartoftheRoutledgePerformancePractitionersseries,eachvolumeof
whichaddressesthebackgroundandpracticesofaninfluentialtwentieth‐ortwenty‐
first‐centuryperformancepractitioner.IntheLecoqvolumeMurraygivesaninformative
overviewandexplanationofLecoq’slifeandmajorinfluences,histexts,companies
foundedbyformerLecoqstudents,andseveralpracticalexercises.In“Toutbouge:
JacquesLecoq,ModernMimeandtheZeroBody:apedagogyforthecreativeactor”
(2002),MurrayinterviewsthreeLecoq‐trainedperformerstoexplorefourpedagogical
featuresofLecoq.Thesearemime,neutralmask,autocours(weeklyself‐created
performancesbystudents)andplay.Inhissectiononneutralmaskhediscussesthe
philosophyofstudentsunlearningsocializedhabits,athemethatItakeupandexpand
uponbyinvestigatingthearchiveofearlytwentieth‐centurymimerecordstoexamine
howthisideaoftheneutralmaskdeveloped.Murrayalsoraisestheissueof“presence”
aslinkedtoEugenioBarba’sideaofpre‐expressivity,citingitasanissuethatneeds
expandinguponbutisbeyondthescopeofthearticle(26).“Presence”hereisanelusive
qualitythatmarksthedifferencebetweenaperformancethatworksandonethat
doesn’t;inMurray’stext,formerLecoqstudentAlanFairbairndescribesastudent
performingmimetechniquesasfollows:“Hecoulddoallthetechnicalexercises
perfectly,but…[he]hadabsolutelynopresencewhatsoever”(26).Gaulierusesthe
term“beauty”inasimilarwaythatLecoqstudentsusetheterm“presence”;thisisan
26
issuethatIexploreinChapters3and4inmydiscussionofGaulier’sdeploymentofthe
term“beauty”aslinkedtotheperformer’s“trueself”.Murray’srigorousinterview‐
basedmethodologyprovidesvaluabledocumentationofhowLecoq’spedagogyis
constructedanddeployed,buthisevidencehasbeencollectedyearsaftertheevent.7
Thepractice‐basedportionofmyresearchthereforeaddsavaluablelayertoexisting
scholarshipbybeingconductedinthemomentoftheclassroomexperience.Iwasable
todocumentbodiesastheymovedintheclassroom,totranscribeclassroom
encounters,andtoconductinterviewswhentheexperienceswerestillfreshandrecent.
Thisrepresentsasignificantadditiontoabodyofworkcomposedmainlyofinterviews
conductedyearsaftertheeventorwrittenaccountsofpersonalmemories.
WrittenworkaboutGaulierisfarmorescarcethanthataboutLecoq.Murray
(2002,2003,2007)referenceshisownandothers’experiencesasastudentofGaulier
andMonicaPagneux(whotaughtwithGaulierwhenhefirstestablishedhisÉcole
PhilippeGaulier)inrelationtopedagogicalthemesincludingvianegativaandGaulier’s
emphasison“pleasure”and“play”.Peacock(2009)mentionsGaulier’sfocusontheflop
andpleasure,anddescribeshisauthoritarianteachingstyle(37‐8).Evans(2009)
referencesGaulierbrieflyinasectionaboutthetwentieth‐centuryconstructofthe
movementteacherasexpert(133).Wright(1990)brieflydiscussesGaulier’s
authoritarianteachingstyleinrelationtopedagogicalefficacy.In“Amusez‐Vous,merde!
7Murrayacknowledgesthisnecessarydistanceandattemptstocorrectforitbystructuringhisinterviewssoastoevokeasenseofwhatitwasliketobeintheclassroominorderto“uncovertheirfeelingsandsenseimpressionsattheactualtimeoftheexperience,andnotwiththewisdomofhindsight”(Bouge19).
27
TheEffectofPhilippeGaulier’sTeachingonMyWorkasanActorandWriter”(2002)
VictoriaWorsleyremembershertimeasaGaulierstudentanddiscussestheeffect
Gaulier’spedagogy—particularlyhisfocusonpleasure,theinjunctiontoenjoyoneself
onstage—hashadonherdevisingwork,suchasherabilitytobemuchmoreintune
withfellowdevisers.ShedescribesseveralprinciplesofGaulier’steachingTalksabout
Gaulier’steachingof“rhythmasafundamentalperformancetool”(90).Likethewritings
ofandaboutotherformerLecoqstudentsincludingMasonandShrubsall,Worsley’s
workisbasedlargelyaroundanalyzingtheeffectthepedagogyhashadonhercurrent
practicefromthedistanceofseveralyearsaftertheevent.Whilesherecountsspecific
eventsthatoccurredintheclassroom,heranalysisisbasedonwhathappenedaftershe
leftGaulierandbegantoapplyhisteachingstoherownartisticpractice.Similarly,
analysesofGaulier’spedagogy(Murray,Evans,Wright)drawfrommemoriesorlater
interviewaccountsofclassroomexperiences.Myresearchfocusesonspecificmoments
ofclassroomencounterasobservedbymeintheactualclassroom,andtiesthese
momentstothelargertraditionofFrenchmimebeginninginthelatenineteenth
century.
Chapterorganization
Inthelattersectionofthischapter,Iintroducemycentralpedagogicalconcept
ofa“pedagogyofdisorientation”thatinChapters3and4IexamineinmyGaulier
research.IexplainhowthisconceptaroseformeasIobservedrehearsalsforThe
28
MasterandMargarita,asite‐specificadaptationdevisedwithUniversityofMinnesota
undergraduatesinSeptember‐October2006.Icomparethisrehearsalprocessto
anothercollaborativerehearsalprocessthatIobservedinMay2006forashowtitled
KilltheRobotdirectedbyphysicaltheatreartistJonFergusonwithagroupofhigh
schoolstudentspreviouslyuntrainedinphysicaltheatre.AsIobservedthislatter
rehearsalprocess,itbecameapparentthatasthestudentslearnedthismethod,they
learneditthroughtheirbodies—noamountofverbalexplanationcouldaltertheir
habitualpatternsofrelatingtoauthority.Thisexperienceunderscoredtherigor
involvedinre‐discipliningbodiestoengageinphysicaltheatricalprocessesof
collaborationandplay.Thebodystoresknowledgeinitsmuscles;neuralpatternsare
deeplyengravedthroughhabitualmovement.AugustoBoalinTheatreoftheOppressed
describestheprocessofunlearninghabitualmovementpatternsas“disjunctive,”
designedto“disjoint”thebody:“Theexercises…aredesignedto“undo”themuscular
structureoftheparticipants.Thatis,totakethemapart,tostudyandanalyzethem.Not
toweakenordestroythem,buttoraisethemtothelevelofconsciousness”(128).I
unpacktheideaofa“thinkingbody”andintroducemystructuringideasofmyselfasa
“hapticresearcher”anda“pedagogyofdisorientation”thatIutilizeinmypractice‐
basedworkattheÉcolePhilippeGaulierinChapters3and4.
InChapter2,“VentreandCerveau:ContaminationAnxietiesinLateNineteenth‐
CenturyFrenchMime”,ItracethegenealogyofLecoq‐basedpedagogyinorderto
explorewhyandhowcertaindiscoursesofthebody—scientific,pedagogical,
29
aesthetic—rationalizewaysofthinkingabouttheactor’sbody.IfollowRoach’sleadby
tracingthegenealogyoftheintersectionsofactingtheoriesandvariousframingsofthe
bodyas,forexample,materialexcess,ortheCartesianparadigmofthebodyas
machine.IfocusonthelatenineteenthtoearlytwentiethcenturiesinParis,examining
thechangesthatoccurredduringthattimetoperformancesofPierrot,aclown/mime
withrootsinthelateseventeenthcenturyCommediadell’ArteperformancesinParis.
TheperformedfigureofPierrotshiftedduringthelatenineteenthcenturybetweena
grotesque,scatologicalclownfigureandasinister,automaton‐likestagepresence
markedbyamask‐likewhiteface.Aconcurrentshiftoccurredinthegesturalstyleof
mimefromlargegesturesbasedonDelsarte’ssystemofrepresentingthepassionstoa
minimalist,subtlegesturalstyle.Thesetransitionsaredocumentedinletters,memoirs,
reviewsandessaysbyperformers,criticsandliterarytheorists,aswellasindramatic
textsandmusicalscoresofpantomimes,whichIexamineinordertoexplorethe
assumptionsthatperformerswhoplayedPierrotandthecriticswhowerewritingabout
thefigureweredrawingonabouttheperformingbody,andhowthisunderstanding
shiftedasthefigure’sappearanceandperformancestylechangedamidstwhatIcall
“contaminationanxieties”aroundthebody.
Turningmyfocustothepresentdayinmyexplorationoftheassumptionsactors
drawonabouttheperformingbody,inChapter3,“PuppetsandBodies:Mechanical
versusNaturalinNeutralMaskTraining”,IexplorethepedagogyofNeutralMask,
drawingonmypractice‐basedresearchconductedatÉcolePhilippeGaulierin
30
November2007.InGaulier’sNeutralMaskworkshop,studentsbroughtwiththemideas
ofemotionalexpressionthatresultedinconfusionwhenemotionwasapparentlyboth
strippedawayfromtheNeutralMaskformandencouragedinit.Itracethecomplex
relationshipoftheNeutralMaskformtobothmechanization(thebodyasmachine)and
thenatural(thebodyasfreeofsocializedhabitsofmovement)byanalyzingthe
emergenceoftheformfromJacquesCopeau’sdevelopmentofthemasquenoble[noble
mask]inthe1920sthroughtoLecoq’smasqueneutre[neutralmask],interrogating
ideasofmechanization(theperformer’sbodyasmachine),ofthenaturalbodyas
efficientandtherefore“neutral”,andofsincerityasitwasunderstoodandappliedto
Frenchmimepedagogyintheearlytwentiethcentury.Itietheseideastoclassroom
experiencesinGaulier’sworkshop,particularlythewaysinwhichstudentsengagedwith
questionsofemotionalityandtechniquesofmechanization.
InChapter4,“LocatingtheSelf:NarrativesandPracticesofAuthenticityin
FrenchClownTraining”,Ianalyzethepedagogyofclownasitrelatestoideasoftheself
usingpractice‐basedresearchgatheredatGaulier’sClownworkshopsinJune2008.I
exploreacentralthemethatemergedinthisworkshop:theideaof“authenticity”orthe
“trueself,”andthisself’sconnectiontothebody.Followingonfrommydualpractice‐
basedandhistoriographicstructuringinChapter3,Iweavebetweenclassroomanalysis
andtracingthedevelopmentofideasandpracticesof“authenticity”astheyemerged
withinFrenchmimeinthelatenineteenthandearlytwentiethcenturies.Iarguethat
whilethepedagogicallanguageinGaulier’sclassroomreinscribedthenotionofastable
31
unifiedself,classroompracticessimultaneouslyunderminedthisideabyexternalizing
theselfthatjudgesperformanceanddisorientatingstudentsintoamoment‐to‐moment
awarenessoftheirembodiedpractices.Ialsoexplorehowstudentsconnected—
throughlanguageandmovement—thephysicalbodytotheideaoftheself,focusingon
thedifficultyinarticulatingandembodyingtheformofthe“trueself”thatemergedin
theworkshop.
Myconclusionpositionsmyresearchascomplicatingthe“mechanist”/’vitalist”
dualityasdefinedbyRoach(1985),andasprovidingadetailedstudyofapedagogythat
providesanalternativemodeltothepositioningofthebodyasaninanimateobjectand
theencouragingofstudentstoperformintraditionally“successful”ways.Thislatter
pointlinkstomyexploration,inChapters3and4,ofthecentralityoffailuretoGaulier’s
pedagogy,afailurethatIargueproducesaproductivestateofdisorientationthathelps
studentsencounteranewwayofthinkingandmoving.Inowreturntomydiscussionof
thisideaofa“pedagogyofdisorientation”,whichemergedformetheyearbeforeI
beganmyresearchatÉcolePhilippeGaulier,duringrehearsalsforTheMasterand
Margarita.
32
Chapter1DisorientationandtheHaptic:
DevisingTheMasterandMargarita
Inthissection/chapter,Iintroducetheideaofdisorientationasapedagogical
strategy,andexploretherehearsalsiteofTheMasterandMargaritathatledtothe
developmentofthisidea.Iaskwhatkindofspacewascreatedintherehearsalprocess
andwhatstrategies(intentionalandotherwise)wereusedtocreatethisspace?Iargue
thatbyusingpedagogicaltechniquesofdisorientation,thedirectorsrestructuredboth
theconsciousnessandthecollectiveorganizationofthosepeoplewhotogethermade
upthebodyofthetheatricalpiece.Thetechniquesthereforeproducedaproductive
disorientationinwhichfamiliar,recognizableboundariesandroleswereshiftedor
blurred,allowingforadifferentsortofcreativeprocesstooperate.Thisobservation
setsthegroundworkformypractice‐basedanalysisofGaulier’sclassroominChapters3
and4.
Pedagogyofdisorientation
Mypractice‐basedworkinthisdissertationfocusesonthisideaofa“pedagogy
ofdisorientation”which,Iargue,produceddisorientationamongstandwithinstudents
withtheintention(sometimessuccessful,sometimesnot)ofopeningtheirbodiesand
mindstonewwaysofmovingandthinkinginordertohelpthemencounteraconstruct
ofthebodyasa“thinkingbody”thatcanbeexperiencedandengagedwithsomatically
ratherthanintellectually.Forexample,inrehearsalsforTheMasterandMargarita
33
manystudentswerelearninghowtodeviseforthefirsttime.Byfragmentingthe
rehearsalspacetoallowstudentstoworkontheirownorinsmallgroupsoutsideofthe
presenceofthedirectors,thedirectorsdisruptedtheassumedhierarchythatoften
preventedstudentsfromcomingupwiththeirowncreativeideas.Thisopenedaspace
forarelationshiptocreativityandthedevelopmentofmaterialthatpositionedthe
performerascreator.
Myuseofdisorientationreferencestheoriesofflowandplay,overlapping
categoriesthatrelateto,butcanbedistinguishedfrom,disorientation.Mihály
CsíkszentmihályitheorizedthepsychologyofflowstateinworksincludingOptimal
Experience:PsychologicalStudiesofFlowinConsciousness(1988)andFlow:The
PsychologyofOptimalExperience(1990).Csíkszentmihályidevelopedhistheoryofflow
fromobservingvisualartistsimmersedintheirwork;hewasparticularlystruckbythe
contrastbetweentheintenseabsorptionoftheartistwhileworkingonapiece,andthe
indifferencewithwhichthefinishedartobjectwastreated.Hetheorizedthatthestate
ofabsorptionwasintrinsicallymotivating—thatis,thestatewasitselfthereasonforthe
absorption,notthepiecethatwasbeingcreated.Histheoryofflowpositsthataperson
inaflowstateisfullyimmersedintheactivity,losingself‐consciousness,anawareness
oftime,andevenawarenessofphysicalneeds(3‐4).Whiletheemphasisonloss
certainlyresonateswiththestateofdisorientationinwhichIaminterested(theword
itselfimpliesalossofmarkersthathelponeorientoneselfspatiallyandconceptually),I
distinguishtheflowstatefromdisorientationbasedonboththequalityof
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concentrationinvolvedandthedurationofthestate.Theextremelyabsorbed
concentrationthatmarksCsíkszentmihályi’sflowstateismarkedlydifferentthanthe
sudden“blank”mindthatresultsfromamomentofdisorientation.Furthermore,flowis
astatethatonecanbeinforapotentiallyextendedperiodoftime,whilethe
disorientationthatIfocusonintherehearsalspaceandtheclassroomsofmystudyis
momentary—theremaybemultipleinstancesofitinrapidsuccession,butthestate
itselfisexperiencedasasuddenandtemporarylossofmoorings,quicklyregainedwhen
mentalandphysicalhabitsreassertthemselves,ornewhabitsemerge.
ThetheoryofflowconsciousnessintersectswithRogerCaillois’stheoryofthe
stateof“paidia”orplayfulness.CailloisdevelopedhistheoryindialoguewithHuizinga’s
1938seminalworkonplayHomoLudens:AStudyofthePlay‐ElementinCulturein
whichHuizingasetforthatheoryofplayasintrinsictohumanbehavior,andidentified
definingcharacteristicsincludingthatplayisalwayssetapartfrom“reallife”,thatplayis
alwaysstructuredbyorder(orrules),andthatplayhasnomaterialbenefitoutsideof
itself(8‐13).CailloisbothexpandsuponanddivergesfromHuizinga’stheoriesofplayin
Man,PlayandGames(1961)inwhichheidentifiesnotonlythestructuredactivitiesthat
canbedefinedasplay(whichheterms“ludus”),butalsounstructured,spontaneous
activities(“paidia”)whichcanbecharacterizedasplayfulness(27).Thislattercategory,
“paidia”orplayfulness,issignificanttomystudyinthatitbringstogethertheactionof
playwithamodeofconsciousnessthatisspontaneous—amodethatinChapter2I
identifywiththeconceptofautomatismethatemergedinlatenineteenth‐century
35
Frenchpsychology,andwhichinthetwentiethcenturyinfluencedthedevelopmentof
JacquesLecoq’slejeumethodology.
Lejeu[theplayorthegame]hasbeeninterpretedvariouslybydifferent
teachersintheLecoqtradition.PhilippeGaulier’sfocus,asdiscussedinChapters3and
4,is“pleasure”andthenecessarydistancebetweenperformerandcharacterthat
allowsthatpleasuretobevisibleandsharedbyspectators.InTheAmbiguityofPlay
(1997)BrianSutton‐SmithlinksplayexamplestoWilliamEmpson’sdelineationofseven
typesofambiguity(1955),includingacategorythatliesclosetoGaulier’sdefinitionof
play:“theambiguityofintent(doyoumeanit,orisitpretend?)”(2).AsIexplorein
Chapters3and4,Gaulierdefinessuccessfulplayascommunicatingthe“pleasureofthe
play”totheaudience;theperformerismeanttotakevisibledelightinthe“ambiguityof
intent”,theinter‐“play”betweenmeaningsomethingandonlypretendingtomeanit.
GiovanniFusetti,anotherteacherintheLecoqtradition,identifiesthisasaquality
intrinsictoascenethateither“plays”ordoesn’tplay:
Whenyousaysomethinglike“Çanejouepas”,it'slike“Thatdoesn't
play”,likeascenenotplaying.It'snotjustabouttheactor“quinejoue
pas”,youcansay“you'renotplaying”,butyoucan[also]saysomething
doesn't“joue”,“ilnejouepas”,thescene,“iln'yapasdejeu”,there'sno
play.Andyouhaveascenewithexactlythesamethings,sametexts,
samelights...exactlythesamething,withorwithoutlejeu,andit's
36
completelydifferent.Andifyouwriteitdown,youfindabsolutelyno
difference.(Interview2007)
Fusettiemphasizeshereaqualityofperformancethatcanonlybediscernedinthe
experienceofplayingorobserving;significantlyheseparateslejeufromwrittentext
andplacesitfirmlyintherealmofembodiedperformance.Iexaminelejeuinmore
detailinChapters3and4;inthischapterIlookatdisorientationasaspecific
pedagogicalstrategythatcanbeusedtohelpstudentsencounternewideasand
practicesthatrequirenewhabitsofthoughtandmovement,includinglejeu.
Theoriesofdisorientation
AmongthosecitingdisorientationspecificallyasapedagogicaltechniqueisNels
Christensen,whoin“ThePedagogyofDisorientation:TeachingCarolynChute’sThe
BeansofEgypt,MaineattheUniversityofMichigan’sNewEnglandLiteratureProgram
andBeyond”attributesaproductivedisorientationinstudents’studyoftheliterary
worktotheirpresenceinadisorientingphysicallandscape,asstudentsattendeda
three‐weekworkshopintheMainewoods.LikeChristensenImakealinkbetween
physicalspaceandlearning,andinmyanalysisofTheMasterandMargaritarehearsal
processplacethisideaofdisorientingspaceattheheartofthepedagogicalshiftthat
occurredintherehearsalsite.Movingfromspacetoidentity,GregoryJayexploresthe
ideaofdisorientationaffectingidentityinhisessay“TakingMulticulturalismPersonally:
EthnosandEthosintheClassroom”inwhichheadvocatesa“pedagogyof
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disorientation”asausefulstrategyforengagingwithmultiethnicreadings;heinvites
readersintothe“adventureofdisorientation”thataresultingreconsiderationoftheir
ownculturalidentitiesentails(628).Jay’sfocushereisondisorientationasaninevitable
effectofopeningoneselfuptoalternatereadingsproduces,aneffecttobeembraced;
myfocusondisorientationandchallengestoconventionalnotionsofthe“authentic
self”,whichIexploreinChapter4,positionsdisorientationslightlydifferentlyinthatI
approachitasatechniqueusedtoproducethiseffectofidentityshift,notastheeffect
itself.
TravisProulxandStevenJ.Heine’s2009study“ConnectionsfromKafka:
ExposuretoMeaningThreatsImprovesImplicitLearningofanArtificialGrammar”
proposesthat“meaningthreats”improvecognitiveabilitytodiscernpatternsinthe
immediateenvironment.Theyhypothesizethatwhenfacedwithanexperiencethatthe
braincannotmakeimmediatesenseof(a“meaningthreat”),thebrainrespondsby
seeking—andsuccessfullyfindings—patternsthatitcanmakesenseof.Whatis
interestingaboutthisstudyformyanalysisisthatimmediatelyafterthedisorienting
moment,thebrainappearstohaveheightenedabilitiestodiscernpatternsthatitwould
nothaveotherwiseperceived.WhenIconsiderthewaysinwhichstudentsinGaulier’s
classroom,forinstance,encountertheideaofthe“true”selfassomethingseparate
fromtheirownsenseofthemselves,aslocatedinsteadinthespacebetweentheir
performingbodiesandthespectators(atopicItakeupinChapter4),thismightbe
describedasanewpattern,anewwayofunderstandingtheideaoftheself,thatcanbe
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betterdiscernedfromaspaceofdisorientation.Gaulier’suseofdisorientingtechniques
(suchassuddenloudnoises)inhisclassroom,therefore,servesaspecificpedagogical
function.
IconnecttheprocessdescribedbyProulxandHeinewithDavidPerkins’swork
on“thresholdconcepts”(1999)whichareconceptsthatliejustoutsideofthestudent’s
currentconceptualframework;tounderstandthem,theframeworkmustshift.In
“ThresholdConceptsandTroublesomeKnowledge:LinkagestoWaysofThinkingand
PractisingwithintheDisciplines”(2003)JanMeyerandRayLandarguethatifthis
transformationisprotracted,theknowledgeisconsidered“troublesome.”
“Troublesomeknowledge”isthereforeknowledgethatthestudentfindsdifficultto
engagewithasitrequiresafundamentalshiftinhabitsofthought(thisdistinguishesit
from,forexample,knowledgethatastudentresistsbecausetheysimplydisagreewith
it—troublesomeknowledgeliesoutsidethestudent’scurrentconceptualframework).
Usingthisdefinition,theideasandpracticesthatstudentsencounteredinmyresearch
couldbeclassifiedas“thresholdconcepts”inthecaseofrelativelystraightforward
lessonslikedevisingtechniquesandcollaborativecreationinTheMasterandMargarita,
andinGaulier’sclassroomas“troublesomeknowledge”duetotheprotractedconfusion
studentshadwhenencounteringhispedagogy.InbothsitesIobservedpedagogical
techniquesofdisorientationbeingusedtohelpstudentsencounterthesenewideasand
behaviors.
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EugenioBarba’sconceptofdisorientationresonateswiththeaforementioned
pedagogicalstudies,ashetiesdisorientationtothecreationofaspacefreefrompre‐
conceivedideas:“Duringrehearsals,thetechniqueofdisorientationconsistsingiving
spacetoamultiplicityoftrends,narrativesanddirectionswithoutbendingthem,right
fromthestart,beneaththeyokeofourchoicesandintentions”(Dramaturgy60).
Disorientationhereisproducesafruitfulspaceofmultiplicity,inwhichfreeingcognition
fromitshabitualpatternsallowsforavirtualexplosionofnewideas.His“body‐in‐life”
extendsdisorientationfromthecognitivetotheembodiedrealm,inwhichthethinking
body“proceedsbyleaps,bymeansofasuddendisorientationwhichobligesitto
reorganizeitselfinnewways”(qtd.inMagnat74).Inthisscenarioamomentary
disorientationeffectivelyallowsforaparadigmshiftofthebody,inwhichthebody
beforethedisorientatingmomentisstructurallydifferentfromthebodyafter.Thisis
notanexplosionofnewideas,butastructuralshift;onecouldsaythebodyhasnew
muscularhabits,newneuralpathwaysthatallowforanewwayofmovingintheworld.
Barba’sdualapproachtodisorientationresonateswithmyownanalysisofitasa
pedagogicaltechniquethatthroughmomentaryinterruptionsinhabitual
cognitive/physicalpatternsallowsfornewpatternsofthinkingandmoving.
Inheressay“DevisingUtopia,orAskingfortheMoon”VirginieMagnatpoetically
describesthedisorientationelementofdevisedtheatreas“theartoflosingone’s
mooringstothefamiliar,afruitfullossyieldingakinestheticandassociativeformof
awareness”(74).Iwouldaddtoherdescriptiontheintentionality,indevising,behind
40
“loosingone’smooringstothefamiliar,”asdisorientationcananddoesoccuracross
widelydifferingrehearsaltechniques—linesorblockingcanbesuddenlyforgotten;
unexpectedsounds,movementsorevenmoodscanopenuptheprocesstothe
unexpected.Devising,however,oftenplacesdisorientationattheheartofitsprocess,
intentionallycreatingspacesandencountersthatchallengeexpectation.Likethe
theoristsdiscussedabove,Magnatlinksdisorientationwithnewideasandnew
movements,theopportunityforastudenttomoveoutoftherealmofanexisting
frameworktoaspaceinwhich“thresholdconcepts”(cognitiveand/orembodied)can
berealized.Unliketheothertheorists,shefocusesondisorientationnotjustasaneffect
ofaprocessbutastheprocessitself,madeupofstrategies,thoughshedoesnot
articulatewhatthesespecificstrategiesare.IagreewithMagnat’sassessmentandtake
itasmystartingpoint,withtwokeydifferences:Ifocusonthespecificdisorientation
strategiesused,andthetopicsofmyanalysis—whatthestudentsencounter—isslightly
differentthanhers.Specifically,inChapters3and4Ilookatthe“thresholdconcepts”
thatstudentsatÉcolePhilippeGaulierencounteredincludingthenaturalversusthe
artificialbodyandtheideaoftheauthenticselfasdifferentfromtheassumedself.I
interrogatetheseencountersascontinuallyinflux,positioningbothstudentsand
teacherinacontinuingdialoguewiththem,adialoguethatItracebacktokeyconcepts
thatemergedinlatenineteenth‐andearlytwentieth‐centuryFrenchmime.
WhenIlookathabitsofbodyandofthoughtthatarechallengedusing
disorientationtechniques,IfocusonwhatDianaTaylordescribesasthe“repertoire”in
41
herdistinctionbetweenthearchiveandtherepertoire(2003).Taylorfocusesher
definitionsonthewaysinwhichculturalmemoryistransmitted:archivalmemory
throughdocumentation,mediaandarcheologicalremains,andrepertoirememory
throughembodiedactivitiesincludingperformances,gesturesandmovement(19‐20).
Shechallengesthepresumedpermanenceofthearchiveandephemeralityofthe
repertoire,pointingoutthatarchivalitemscandisappearfromornevermakeitintothe
archive,whilememoriestransmittedthroughtherepertoirecanleavetheirembodied
mark.Shewrites:“Therepertoirerequirespresence:peopleparticipateinthe
productionandreproductionofknowledgeby‘beingthere,’beingapartofthe
transmission”(20).DrawingonthisdefinitionIlookattwodistinctrepertoiresinmy
practice‐basedwork:thatofLecoq‐basedperformanceandpedagogyitself,andthatof
studentbehaviorsthatwerebroughtintotheclassroomandrehearsalsite.The
encounterandresistancebetweenthesetworepertoires,Iargue,washandled
pedagogicallythroughstrategiesofdisorientation,whichopenedupaspacewithin
whichnewhabitsofthoughtandmovementwerepossible.
Thehapticview
Myapproachtopractice‐basedresearchinthisdissertationstemsfrommy
experiencesinrehearsalsforTheMasterandMargarita.Productivedisorientationwas
facilitatedintheserehearsalsinpartthroughaspatially‐fragmentedrehearsalsite.The
piecewasphysicallystructuredthroughmobility:asite‐specificpromenadeshow,each
42
sceneoccurredinadifferentgeographicallocationontheuniversity’sArtsQuarter
sectionofcampus,requiringtheaudiencetowalkfromsitetosite.Asimilaroperation
playedoutintherehearsalprocess:duringeachfour‐hourrehearsal,aftergatheringin
StudioAonthefifthflooroftheRarigCenter(homeoftheDepartmentofTheatreArts
andDance)forahalf‐hourwarm‐upgame,performersscatteredthroughoutthetheatre
buildingandthroughvariousoutdoorsites,devisingandrehearsingfragmentsofthe
show.WhileStudioAremainedtheofficialspatialreferencepointtowhichpeople
returnedtofindothersandtobegivennewrehearsalassignments,therewasno
centralizedsiteforeitherrehearsalsorfortheperformance.Rehearsalswerescattered
throughoutthesixfloorsofthetheatrebuildingaswellasinamultitudeofoutdoor
locations,andmoreoftenthannotnoonepossessedacompleteknowledgeofwhat
washappeningwhere.Acommonsightwasoneofthetwosomewhatharriedstage
managersrunningfranticallyfromfloortofloor,askingforthelocationofaparticular
performer.
AweekorsointotherehearsalprocessIbegantobemoanthefactthat,dueto
thisspatialscattering,IwasnotabletoconductwhatIthoughtofasacomprehensive
datacollectionprocess.Ihadtriedhandingmydigitalvideocameratostagemanagers
andfellowgraduatestudentswhohappenedtobewanderingthrough,askingthemto
recordasmuchastheycouldwhileIranofftoanothersitetofuriouslyscribblenotes;I
hadtriedcatchingperformersintransitfromonerehearsallocationtoanothertoask
themtodescribewhattheyhadbeendoing;butdespitemybestefforts,Iwasacutely
43
awarethatmydatacollectionrepresentedonlyfragmentsofwhatwasoccurringeach
nightinrehearsals.AddingtomydifficultywerethemultiplerolesIplayedinthe
rehearsals:Iwasofficiallytheshow’sdramaturg,whichchieflyconsistedinmybeing
givenKiraObolensky’stexttoeditandconsultationswiththedirectorsonconnecting
scenesanddrawingoutcentralvisualandmovementthemes.SinceSommersand
Seifertbelievedinutilizinganyskillthatwalkedintotheroom,andsinceIwaseagerto
contributeinanywaytheyfoundhelpful,inshortorderIalsofoundmyselfrunning
vocalwarm‐upsandcoachingperformers.Myoneattempttorecordmyselfwithmy
digitalvideocamerarunningavoiceworkshopwiththeactorswhoplayedtheMaster
andMargaritaisusefulforitsdocumentationofanresearcher‐practitionerstrugglingto
captureeverymoment,andperhapsforitshumorvalueasthespokenconversations
becameincreasinglystiltedduetothepresenceofthecamera,butprovedfartoo
intrusivetobecomearepeatedpractice.
Afellowgraduatestudent,AshleyMajzels,whohappenedtobepassingthrough
oneoftheoutdoorrehearsalsoneeveningreframedmydilemmaforme:“That’s
appropriate,”hesaidinresponsetomyanxiousaccountoftheproblemsIwashavingin
collectingdata.“Yourownresearchprocessishaptic,whichisallowingyoutomirrorin
yourmethodologytheactualexperienceofbeinginsidealargedevisedrehearsal
process.”8HewasreferringtoDeleuzeandGuattari’sdistinctioninAThousand
Plateaus:CapitalismandSchizophreniabetweentheopticandthehapticview(492‐9).
8ThisquoteisaparaphraseofwhatMajzelssaidbasedonmyrehearsalnotes.
44
Theopticisthebird’s‐eyeview:theviewofacity,forexample,seenbylookingata
map.Whiletheeye’sfocuscanmovefromdetailtodetail,eachsegmentofthemapis
seen,ifonlyperipherally,inrelationtoeveryothersegment.Fromapractice‐based
researchperspectivethiscouldrepresentthe“viewfromnowhere,”theoutside
observerlookingatacoherentwholeinordertoanalyzeitfromaprivilegedviewpoint.
Thehapticview,bycontrast,wouldbethatofapedestrianwalkingthroughthecity’s
streets:theeyewouldtakeinanindividualfragmentofthecityinrelationtofragments
directlysurroundingit;ascornerswereturnedotherfragmentswouldcomeintoview,
andeventuallyamappingofthecitywouldbecomepossible,butthecityasawhole
wouldneverbeaccessibletothegaze.DeleuzeandGuattarialsolikenthehaptic/optic
distinctiontothedifferencebetweenthevisiononehasofanobject(apainting,a
wheatfield)andthatoftheobserverstandingatadistance.Theclose,hapticviewisof
“smooth”space,notyet“striated”,ordemarcatedbyobservable(ortactile—Deleuze
andGuattariemphasizethatthesedistinctionsapplytoallofthesenses)patternsthat
separatesectionsfromeachotherandproduceawholethatcanbetakenapartand
analyzed:“Cézannespokeoftheneedtonolongerseethewheatfield,tobetooclose
toit,toloseoneselfwithoutlandmarksinsmoothspace.Afterward,striationcan
emerge:drawing,strata,theearth,‘stubborngeometry,’the‘measureoftheworld,’…”
(493).DeleuzeandGuattaripositionthehapticviewofsmoothspaceastemporally
priortotheopticviewofstriatedspace,andasnecessarytothelateractofanalysis.
45
Idefinemyselfinallthreeofmypractice‐basedresearchsitesinthisdissertation
asa“hapticresearcher”.WithinthisroleIunderstandmyselftoinitiallyexperience(or
“see”)“smooth”insteadof“striated”space;thestriationsarecreatedbymewhenI
compilemynotes,sitdowntowrite,tocreateanarrative,andtoconstructtheories
thatmyexamplessupport(andthatareselectedbecausetheysupportthesetheories).
SoIcreateanopticviewforthereaderfrommyhapticexperienceasaparticipant‐
researcher,fullyacknowledgingthatmystriationsareonesetofpatternsona
landscape;anotherresearcher(andotherparticipants—thestudents,the
teachers/directors)mightverywellcreateanotherset.DeleuzeandGuattarihighlight
thismorerigidaspectofthestriatedspace/theopticview:“Itislesseasytoevaluatethe
creativepotentialitiesofstriatedspace,andhowitcansimultaneouslyemergefromthe
smoothandgiveeverythingawholenewimpetus”(494).AsthecreatorofthisviewI
acknowledgemyownlaborandthestrippingdownofthe“creativepotentialities”that
havenecessarilyoccurredasImovedawayfrommyhapticexperienceofthesites,and
emphasizethecreativepotentialitiesthatcontinuetoexistinthesesites,otherstories
thatcouldbetold.
AsItriedonmynewidentityashapticresearcherinTheMasterandMargarita
rehearsals,Ibegantonoticeresonanceswiththeexperiencesofotherparticipantsthat
pointedtotheusesofdisorientationtostructuretheprocess.Specifically,nooneever
seemedtoknoweverythingthatwasgoingon,eventhetraditionally‐omniscientstage
managerswhoweresuccessfullyifattimesgrudginglyadaptingtothisunaccustomed
46
stateofaffairs.Thisdidnotmeanthattheprocesswaschaotic,however—each
participantcouldrecitearoughoutlineoftheshow’schronologyandspatialmapping,
andrehearsalsub‐groupswerelimitedtoparticularsites.Yetthemoreclearly
demarcatedboundariesseenintraditionalrehearsals—markedoutbyawrittenscript
neatlydividedintoactsandscenes,onestageonwhichthebodiesofperformers
rehearsed,andthesingularroomofthetheatrewithinwhicheveryparticipantcanbe
found—weremuchmoreblurryandfluid.Standingatthetopofasetofstonestairs
behindthemusicbuilding,lookingdownandacrossaroadtowhereSommerswas
askingoneofthedevilstoexplorewaystoappearoverawall,aperformerwaitingfor
instructionaskedanother,“Doyouknowwhathe’sdoing?”andreceivedtheresponse,
“Noidea.”Theysmiledandcontinuedtowaitforaframingthatwouldallowthemto
createtheirportionofthescene.
Thisdisorientatedframingcouldalsoprovefrustratingforconsistency.During
anotherday’sshowingofthefirstsceneinwhichtheMasterandMargaritaappearnext
toabonfireinanoutdooramphitheatreand,astheyrecounttheirmemoriesofrecent
eventsinMoscowaswellastheirownlovestory,rolltogetheronthegroundin
laughter,ShawnMcConneloug,thechoreographer,stoodnexttomeandmurmured,“If
IhadknownthisishowtheywoulddothissceneIwouldhavechoreographedthetable
scenedifferently.”The“tablescene”wasanembodiedtellingofthetwolovers’affair;
Shawnwasreferringtothefactthatthemovementthemesshehadchoreographedfor
themwerenotconsistentwiththoseinthebonfirescene.Fortheperformers,however,
47
thedisorientationcausedbythisdisorientatingstructuringoftherehearsalprocesswas
atworstbemusingandatbestcreativelyproductive.
LaterinthischapterItiethisideaofdisorientationtomyobservationofalackof
clearlydelineatedleadershipandsubordinateroleswithingroupstaskedwithcreating
vaudevillescenesfortheshow.Inthesemoments,Iargue,thelackofarecognizable
structurecreatedaspacewithinwhichtheboundariesofhabitualsocialrolesand
hierarchiesloosened.Manyofthesestudentsbroughtwiththemyearsofclassroom
experiencesinwhichtheyhadlearnedtobesilentandwaitforinstructions,andhad
cometounderstandthattheirrolewasthatofinterpreterratherthancreator,their
bodiesdisciplinedtoperformlowstatuswithinrecognizablehierarchiesofauthorityin
thespaceofthepedagogicalsetting.Onceanewspacehadbeencreated,performers
wererecastascollaborators,andbegantorelearnappropriatewaystoperformwithin
thisrehearsalspace.Anotherwaytolookatthishorizontalcreationprocess,inwhich
everystudentcontributed,madesuggestions,commentsandcritiques,mightbeto
considertheemptyspacesthatopenedupintheabsenceofarecognizablehierarchy.In
atext‐based,hierarchicalrehearsalprocessthespaceoftherehearsalisfilledwith
predeterminedmeaningcentralizedinthescriptandinthedirector’svisionor
concept—meaningthatcanbeplayedwithandtransformed,certainly,butthereis
alwaysasenseofwherethecreativeimpetusiscomingfrom.InrehearsalsforThe
MasterandMargarita,gapsexistedwithinthegivenmeaningofanyparticularscene,
gapsthatcouldbefilledwithnewmeaning,andnewmaterial.
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Embodiedknowledge:Thetapeballwarm‐up
Givenourculture’sprivilegingofdiscursivereasonoverembodiedknowledge,
devisingopensupapedagogicalrealmthatasksparticipantstoexplorealternateways
ofknowing.“TapeBall”(whichalsogoesbyothernamesincludingBallJugglingand
Keepy‐Uppy)isfrequentlyplayedasawarm‐upgameindevisingrehearsals.Thegame
developskinestheticawarenessinrelationtoothers,helpingtobuildensemblethrough
embodiedexperience.Playersstandinacircleandthrowaballintotheair;the
objectiveofthegameistokeeptheballfromhittingthegroundbyhittingitwiththe
palmofthehand.Everyoneinthegroupshoutsoutthenumberoftimestheballishit
(“One!Two!Three!...”),andthegoalistoreachthehighestnumberpossiblebefore
theballhitstheground.
Thiswasthestandardwarm‐upgameplayedatthebeginningofeachrehearsal
forTheMasterandMargarita.Iidentifytheuseofthisgameasastandardwarmupon
eachdayofrehearsalsasadeploymentofthestrategyofplay,ofengagingstudentsin
anembodiedexercisethat,throughitsfastrhythmandrelianceonimmediatephysical
reaction,putstudentsintoastateofmoment‐to‐momentawarenessoftheirbodies.
Observingthisgamethroughthefour‐weekrehearsalprocess,Iwasstruckbyboththe
improvementofthegroupinkeepingtheballup(oncethehighnumberreached138),
andtheparallelsbetweenwhatIwasobservinginthisgameandwhatIwasobserving
duringrehearsals.Successinthisgamereliedonacollectiveabilitytonegotiateshared
49
tactics:whenonepersonhitstheballsheissimultaneouslysettingitupforsomeone
else;whentwopeoplegoforthesameballtheymustfigureout—quickly—whotakesit;
thephysicalspacingofbodiesthroughtheroom(howmuchspacebetweenmembersof
thecircle,howrigidaretheboundariesofthecircle)affectstheflexibilityofhits.
Participantsbecamemoreskilledatnegotiating—asagroupandwithoutdiscussion—
wheretopositionbodiesintheroom.Attimestheboundariesofthecirclewould
becomenebulousasparticipantssteppedoutsideorinsidetheoriginalcircle,forming
ringsofcirclesthatenabledthegrouptocovermoreground.Whenbodiesbecametoo
dispersedtofacilitateeffectiveplaying,rhythmicclappingwouldbegin—againwithout
discussion,andalmostimmediatelyspreadthroughtheentiregroup—andthecircle
wouldre‐formwithitsoriginaltightboundaries.
Thedailyrepetitionofthisgametrainedtheperformers’bodiestorespond
quicklytoimpulse,tonegotiatesharedspace,andtoimaginativelyconnecttoeach
otherbyshoutingoutanumberwheneveranyonehittheball.Shoutingengagesthe
bodyviscerally,meaningthateverytimetheballwashiteachbodyintheroomhada
visceralexperience.Thisquicklyproducedanatmosphereinwhicheachindividual
success(hittingtheball)wastreatedasanensemblesuccess(triumphantlyshoutingout
anumber).Watchingtheperformerscollaborateoncetherehearsalspropergotgoing,I
sawthiselisionbetweenindividualandensemblemanifestasthehierarchiesthat
usuallydevelopwithingroupswerediminishedtosuchadegreethatIhaddifficulty
discerningthem.Performerstreatedeachproposal—whetherornotithadoriginated
50
withthem—asvalidandworthyofexploration.Itwasasifeachindividual’screativity
hadbeenmultipliedbythirty.Performersdescribedbeing“surprised”attheideas
generatedduringthedevisingprocess;moreoftenthannotpre‐existingideasabout
whatwouldhappeninaparticularscenewererenderedobsoleteorunrecognizable
oncethegrouphad“played”withit.
Thedifficultyofenactingcollaborativebehaviorsintherehearsalspacewith
performersnotextensivelytrainedindevisingwasillustratedinarehearsalprocessthat
Iobservedduringthesummerof2006.Thepiece,titledKilltheRobot,wasdirectedby
JonFerguson,aMinneapolis‐basedclownandphysicaltheatredirector,withacastof
teenagersparticipatinginasummercommunitydramacourse.Fergusonwas
experiencedandskilledatcreatingaspacefordevisingwithexperiencedadultactors,
yetIwatchedhimstruggletocontinuallydeflecttheteenagers’expectationsthathe,as
director,wasinchargeandwouldthereforetellthemwhattodo.Theteenswereable
tograspintellectuallytheconceptofdevising,ofembodiedplay,yetwhenthetime
cametoproposeideastheywouldstandstill,bodiessignificantlyimmobile,lookingat
theirdirectorexpectantly.Asignificantdifficultywastherehearsalspace:aclassroom
insideofacommunitytheatrebuilding,whichencouragedtheteenagerstoperformthe
roleofstudentandpositionFergusonastheirteacher.Fergusonrespondedby
increasingthetimedevotedtophysicalimprovisationexercises.Thisforcedthe
performerstoengagedirectlywitheachotherratherthanwiththeirdirector,andto
respondquicklyinthemomentwithouttimetoreflectandcomeupwiththe“right”
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answer.Theteenagersinitiallyfoundthischallenging,andtheseexercisesoftenpetered
outasmovementsbecamemoreandmoretentativethenslowedtoastandstill,andthe
performersturnedtolookatFerguson.Itwasasifagravitationalforcecontinually
pulledtheirbodiesbackintothesubmissiveposeoftheexpectantstudentlookingto
theteacherforadvice.Overtime,however,Icoulddiscerntheeffectsofthese
embodiedexercisesastheperformersbegantopropose.Theproposalswerehesitant,
andembodiedplayneverdevelopedbeyondbriefburstsofperformer‐generated
creativity,butitwasanimprovement.Whatbecameapparenttomewasthattothe
extentthatthestudentslearnedthismethod,theylearneditthroughtheirbodies—no
amountofverbalexplanationcouldaltertheirhabitualpatternsofrelatingtoauthority.
ThisobservationreferencesanideaofembodiedknowledgesthatIexplorein
thisdissertation.TheentrenchedphysicalandcognitivehabitsthatIexamineinthe
rehearsalsiteandclassroomcanbeunderstoodthroughPeterMcLaren’sconceptof
“enfleshment”,theprocessofthephysicalbodycomingintobeingasculturally
inscribedthroughmuscularhabitsandstatesoftension(47).Thebodystores
knowledgeinitsmuscles;neuralpatternsaredeeplyengravedthroughhabitual
movement.McLarenproposes“refleshment”asaninnateabilityofthebodytolearn
newbehaviors:
Sincewecannotputonnewbodiesbeforewedesocializeouroldones,
thetaskathandrequiresustoprovidethemediativegroundfora
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refleshedcorporeality.Thismeansthecreationofembodiedknowledges
...(65‐6)
McLarentiesembodiedknowledgestorefleshment;inordertochangethebody,one
mustengagethebodyinaprocessofknowledgecreation.Thisisanimportantpoint
aboutbodiesthinking;inboththerehearsalandclassroomsitesIanalyzeinthis
dissertation,studentsengageandstrugglewithnewknowledgesprimarilythroughtheir
bodies,oftenmakingdiscoveriesatoddswiththeirverbalattemptstocometogrips
withthenewknowledges.Imakethisdistinctionbetweenengagingwiththebodyand
withthemindadvisedly,awareofthedangerofreinscribingCartesianmind/body
duality.PerhapsamoreaccuratewaytodescribewhatIamtalkingaboutwouldbeto
saythestudentsengagedmoreoftheirbodiesintheseexercises—whenstudentswere
simply“talkingabout”theideaswithwhichtheywereengaging,theirbodieswereoften
quitestill,theireyesfocusedontheteacher/director,mouthsmovingandbrows
furrowed.WhenengagedinwhatIcall“embodiedexercises”,theyactivatedthe
musclesoftheirarmsandlegs,theirbreathingquickened,theirfacialmusclestendedto
relax.Additionally,thenewknowledgesoftenmanifestedthemselvesnotthrough
students’abilitytoverballydescribethem,butthroughtheirabilitytophysicallyenact
them.AugustoBoalinTheatreoftheOppresseddescribestheprocessofunlearning
habitualmovementpatternsas“disjunctive,”designedto“disjoint”thebody:“The
exercises…aredesignedto‘undo’themuscularstructureoftheparticipants.Thatis,to
takethemapart,tostudyandanalyzethem.Nottoweakenordestroythem,butto
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raisethemtothelevelofconsciousness”(128).Boaldevelopedhistheoriesworkingasa
theatricalactivistinBrazil,andhis“disjunctive”techniquesweremeanttorevealways
inwhichoppressivesocietalstructuresplayoutintheactualmuscularstructureof
bodies.WhatIfindpertinenttomystudyisthatinBoal’stheoryofdisjunctive
exercises,thebodyissituatedatalevelbelowconsciousness,containingknowledge
thatcanbe“raised”intoconscioustobeanalyzed.Thispositioningofembodied
knowledgeresonateswiththelatenineteenth‐centuryideaofautomatismethatI
examineinChapter2andFreud’stheoryoftheunconsciousthatIconnecttothe
developmentofmimepedagogyinChapters3and4.Italsointersectswithmyinterest
inknowledgethatcanonlybeproducedthroughthebody,asraisingtheknowledgeof
muscularhabitstothelevelofconsciousnesscannothappenwithoutthebodybeing
physicallyengagedindisjunctiveexercises.Byengagingthebodytoproduceknowledge,
alteringthesehabitsbecomespossible.Iexplorethisingreaterdetaillaterinthenext
sectionwhenIlookatspecificstrategiesusedbySommersandSeifertduringrehearsals
forTheMasterandMargaritatohelpstudentsenactcollaborativerelationshipsinthe
devisingprocessmuchasFerguson’suseofphysicalimprovisationexerciseshadhelped
todisorienthisperformersandencouragetheirself‐generationofproposals.
Verticaltohorizontal:Collaborativerelationships
Oneofthestudents’mosttrenchanthabitsthatSommersandSeifertworkedto
alterwasstudents’tendencytodefertothedirectorsduringdevisingmoments,a
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behaviorreminiscentoftheperformersinKilltheRobot.Whilethescatteredrehearsal
spaceaidedinbreakingstudentsofthesehabits,thisalmost‐intractabletendencymade
itdifficulttosendstudentsoffinsmallgroupstocreatematerialfortheshow,as
studentswerehesitanttocreateanythingwithoutspecificinstructionsandconstant
checkinginwiththedirectors.Thisreflectedanimplicitassumptionthattherelationship
structureintherehearsalprocesswasvertical,withSommersandSeifertatthetop
holdingallpertinentknowledge,andthestudentsatthebottomwaitingtoreceivethis
knowledge.Inordertoshifttheagencyfordevisingtothestudents,thedirectors
continuallydeflectedstudentattemptstoenactthisrelationshipbyloweringtheir
status.Thiswasparticularlyobservableduringrehearsalsforthevaudevillescene,when
SommersandSeifertaskedgroupsofstudentstoindependentlycreateactsforthe
vaudeville.
InBulgakov’snovel,thedevil(Woland)makeshisdramaticanddeadlypublic
appearancebeforethecitizensofMoscowonstageattheVarietyTheaterinachapter
titled“BlackMagicandItsExposé.”Fortheadaptation’sversionofthisscene,Sommers
andSeifertinvitedtheperformerstocreatepiecesforwhatcametobecalledthe
“vaudevilleshow,”performedonasmallwoodenstagewithredcurtainstuckedintothe
cornerofthebackofthemusicdepartmentconcerthallwiththeaudienceseatedon
theslopinggrassvergeopposite.Sincethissegmentwastheonlyonecreatedentirely
bytheperformerswithdirectorialassistanceonlyinthefinalweekwhentheshow’s
timingswerebeingpolished(theothermomentsintheshowwereworkedon
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collaborativelybetweenperformers,directorsandthechoreographer),thiswasthesite
inwhichImoststronglyobservedthefluidityofhierarchicalsocialstructure.
Standingintheoutdoorarenatheatrethatwastoserveasthesiteoftheshow’s
openingscene,SommersandSeifertinstructedtheperformersoncreatingvaudeville
pieces,instructionsthatframedthecontextofthescene(vaudeville,varietyshows)
withouttellingtheperformerswhattocreate.Despitethepracticetheperformershad
hadinproposing,andthecontinuedemphasisthathadbeenplacedbytheco‐directors
ontheperformersratherthanthedirectorsasprimarycreators,astructuralhabit
reasserteditselfmuchasithadinKilltheRobot.AfterSommersandSeiferthadfinished
speaking,severaloftheperformersapproachedthemaskingforclarificationonwhat
thedirectors“wanted”themtodo.Thisincludedagroupthathadbeendevisingapiece
aroundtheideaoftheautomaton.Duringhisinstructionalremarks,Sommershadused
thisgroupasanexampleofhowthecreativeprocessmightwork,andproposedanact
thatwouldevokereligiousimagery—acrucifixionscene.Theperformersinthisgroup
tookthisproposalasanactualsuggestionforcontent,andapproachedhimwith
apparentconcerntoaskhowtheymightstagethis,giventheirdiscomfortwiththe
subjectmatter.Sommersimmediatelyrearticulatedhisproposalassimplyanexample
ofaroutetheymighttake,andspecifiedthathewantedthegrouptodevisecontent
separatelyfromwhattheyimaginedhe“wanted.”Seifertalsosteppedintoaid
Sommersinemphasizingtheperformer‐basedproposalprocessthattheywere
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continuallyattemptingtoarticulateagainstthetraditionalhierarchicalrehearsal
structureofdirector‐as‐creator,performer‐as‐interpreter.
Sostrongwasthistraditionalstructurefortheperformersthatoneproposal
thrownoutasapossibilityamongmanythatlanguageofcoerciveinstructionframed
theperformers’responses:“Whatdoyouwantustodo?”“Isitsupposedtobelike
this?”Toworkagainstthesehabituatedlanguagepatterns,SommersandSeiferthadto
explicitlylowertheirstatusinrelationtotheperformers:“Don’tlistentome,”Sommers
saidatonepoint,“IhavenoideawhatI’mtalkingabout—youcomeupwith
something.”Byrespondinginthiswaythedirectorswereinducingadisorientation
aroundthestatusbehaviorsstudentsexpectedofthem,astrategythatplacedcreative
responsibilityinthehandsoftheperformersthemselves.Thistechniqueisaformofvia
negativa,apedagogicaltechniquecoinedbyGrotowskiandwidelyconsideredtohave
beenusedbyLecoq(thoughhedoesnotusetheterminhiswritings)aswellasthe
teacherswhoworkwithhismethod.Grotowskidevelopedvianegativaasamethod
thatspecificallyaddressedhisaestheticofthepoortheatre,atechniquethatrejectsthe
approachofaccruingtechniquessuchashowtodisplayemotionorhowtomovein
particularwaysinfavorofstrippingawayanyhabitthatstandsbetweentheactorand
spectator:“vianegativaeliminate[s]fromthecreativeprocesstheresistancesand
obstaclescausedbyone’sownorganism,bothphysicalandpsychic(thetwoforminga
whole)”(24).InLecoq’sversionofvianegativa,theteacherdoesnotgiveanswersor
directfeedbacktothestudent,butcreatesaspaceinwhichthestudentmust
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experimentuntilshediscoverstheanswerforherself.JohnWright(2002)describes
Lecoq’suseofthetechniqueasastrategyto“manipulatecreativeenergy”:
Sometimeshe[Lecoq]knowsexactlywhathewantshisstudentstofindand
sometimeshesimplyusesitasastrategytogenerateurgency;anatmosphereof
white‐hotdiscussionandexperimentashisstudentsstruggletofindexactly
whatitistheythinkheislookingfor.(73)
ManyformerstudentsofLecoq‐basedpedagogydescribethefrustrationengenderedby
thistechnique.MarkEvansdescribeshisexperience:“Yousometimesfelt:whycan’tI
understandintellectually,andthenjustdoit?”(qtd.inMurrayLecoq51).The
technique’spedagogicalpayoffiswidelyconsideredtobetemporallydeferred;Simon
MurraywritesofhisownexperienceasastudentofGaulierandMonicaPagneux(who
taughtwithGaulierinParisforseveralyears):“…many‘results’ofwhatIlearneddidnot
emergeorsurfaceuntilyearslater.Oftenthebodyonlyunderstandsandbecomesable
toarticulatewhatithaslearnedlongaftertheeventitself”(Lecoq50);Lecoqwritesof
histeachingofthecommediadell’artetostudentswhoaretooyoungtoyethave
acquiredthe“tragicdimension”necessarytofullyunderstandandincorporatethe
lessonsintotheirperformances:
Avingtans,lesélèvesn’ontsouventpaslevécunécessaire,illeur
manquenotammentladimensiontragique,élémentconstitutif
importantdeceterritoire.Sinousfaisonsmalgrétoutcetravailàl’École,
cen’estpaspouruneutilisationimmédiatemaispourqu’ilsgardentle
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souvenirdeceniveaudejeudansleurcorpsetdansleurtêteafinqu’ils
puissents’enservirplustard.
[Attwenty,thestudentsdon’toftenhavethenecessarylifeexperience,
theynotablylackthetragicdimension,themostimportantelementof
thisterritory.Ifwecarryondespitethiswiththeworkattheschool,this
isnotforanimmediateusebutsothattheywillretainamemoryofthis
levelofplayintheirbodiesandintheirheadsothattheycanuselater.]9
(Corps125)
Lecoqreferencestheideaofthethinkingbodyherebysuggestingthatboththebody
andtheheadstorememoriesofclassroomexperiences,whichcanbedrawnonlaterin
life.
IntherehearsalspaceofTheMasterandMargarita,vianegativaoperated
slightlydifferentlythanintheclassroom,asSommersandSeifertattemptedtocreatea
spacewithinwhichnewmaterialwouldbegeneratedfromthestudents,ratherthan
teachingaspecificmethod;thereforetheydeliberatelyundercuttheimplicitauthority
ofthemselvesasteachers(whostudentsattemptto“please”inLecoq‐stylevia
negativa).Asoftenoccurswithinalooselystructuredspace,studentssoughtacentral
authoritativevoice;whenSommersandSeifertrefusedtoplaythisrole,therefore,it
begantoemergeamongtheperformersthemselves.Seniorandmoreverbally
9PhilippeGaulieralsousesthistechnique,oftentakingittoanextremeform,whichcanbefrustratingforstudentsusedtoaneducationalmodelinwhichtechniquesandfactsarepassedondirectlyfromteachertostudent.IexaminehisparticularmethodsinmoredetailinChapters3and4.
59
expressiveofthecastmembersledwhatchieflyamountedtoverbalbrainstorming
sessions.Themoreoutgoingmembersofthegroup,theoneswhoareusedto
performingasleaders,quicklytookcontrolofthecreationprocess,andthosemore
usedtosubmittingandfollowingfellintotheirownestablishedroles.Bytheendofthe
firstweek,however,Ibegantoobserveashiftindevisingtechniqueawayfromverbal
consultationandtowardsphysicalplay.Thiswasaccompaniedbyablurringoftheroles
withinthegroups;itbecamemoreandmoredifficultformetodiscernwhowas
“leading”anyonedevisingsession.
Thisblurringofroleswasconveyedbothverballyandphysically.Verbalcues
includedmultiplevoicesallseemingtospeakatthesametime,yetsomehowall
contributingtothecreativetaskathand.WithintheseeminglysimultaneouschatterI
discernedaconversationalstructurethatincludedproposal,response,validationand
critique.Voicesoftenoverlappedwithinagroup,thoughwithoutasenseofinterruption
orfightingtobeheard.Rather,theoverlappingvoiceswereengaginginmeaning
makingthatwaslesslinearandmoreasenseofdeepeningintoanidea.Forinstance,
whenIobservedthegroupcreatingthe“babytumblers”actworkingonaproblemthat
hadarisenintheirpieceinvolvinghowtonegotiateatrickyliftandturnofoneofthe
performers,allofthemembersofthegroupappearedtobespeakingsimultaneously,
yetasolutiontotheproblemwasclearlyemerging.Ratherthanonevoicelayingouta
completeideaandanothersingularvoicerespondingtothatphraseinitsentirety,the
speakingseemedtobeanongoingprocess,eachperformershiftingwhattheywere
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sayingmid‐sentencebasedonwhatothervoicesweresaying:“Becausewecan’tliftlike
this…”“…she’dturnand…”“…maybeturnthisway…”“…andthenI’dtakeher…”
“…andyou’llcomethrough…”“…andthenwe…”“…standupandbow…”.
Physicalcuesincludedrupturesinfamiliarstatusmovementsandgestures,as
thesefamiliarphysicalities(lowerstatusparticipantsfixingtheirgazesonahigherstatus
person,tiltedheadsandbentbodyposturesindicatinglowerstatus,verticalstancesand
broadgesturesmarkinghigherstatus)begantodisappearinfavorofcontinualshifting
betweenmovementandstillness,eyecontactandlookingintothedistance,bent
posturesandstandingupright.Statuswasshiftingfromonememberofthegroupto
another,parallelingthevoicesemergingandbeingsubsumedbackintothegroupbuzz.
Leadershipflowedfromparticipanttoparticipant,abehaviorpatternalsoreflectedin—
and,Ibelieve,symbioticallyconnectedwith—thewarm‐upgameofTapeBall.
Conclusion:Disorientingspace
Inthischapter/sectionIhavedescribedseveralstrategiesthatfacilitateda
devisingprocessamongagroupofstudentsinexperiencedindevising.Therewasmore
totheprocessthanastraightforwardteachingofrehearsaltechniques.Inmy
experience,students/performerswhohavebeenhabituatedtotraditionalclassroom
andrehearsalstructuresfinditextremelydifficulttoshifttheirpatternsofknowledge
creation;Ferguson’sexperiencewiththeteenagersinKilltheRobotwastypicalinthis
regard,aswasTheMasterandMargaritacast’sinitialdifficultywithtakingownershipof
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thevaudevillescene.AsImovedthroughtherehearsalprocessforTheMasterand
Margarita,alongsideshiftingbehaviorpatternsIbecameincreasinglyawareofaspatial
shiftthathadoccurred:thespacewithinwhichstudentscollaboratedwasmarkedby
looselydefinedboundaries,shiftingcentersofauthority,andfragmentedgroupingsof
collaboratorsoccupyingdiverselocations.Thespace,inotherwords,wasmarkedby
disorientation.IidentifythespatialscatteringthatSommersandSeifertemployedasa
strategytoproducecorporealandcognitivedisorientation,therebyshort‐circuiting
students’impulsestofallbackonhabitsofstudent‐teacher(inthiscase,actor‐director)
behavior.Thiswasincontrasttotheclassroom‐situatedrehearsalsofFerguson’sKillthe
Robot,whichIbelieveaccountedinpartforstudents’difficultyinbreakingoutof
habitualbehaviorpatternsastheycontinuedtoconsciouslyorientthemselveswithina
recognizableclassroomhierarchicalstructure.
Asdiscussedabove,Ibelievethatthesepedagogicaltechniquesthatdisorient
thestudentallowforshiftsincognitiveandmuscularhabits.Bybecomingunanchored
fromasenseof“knowing,”fromafamiliarreferencepointthatmarksthepedagogical
spaceasatraditionallystructuredthroughhierarchy,onecanoccupyanewsubject
positionthatdoesnotautomaticallyfallintoprescribedmodesofbehavior.Thisisnot
toclaimthatthesepedagogicalandrehearsalspacesallowforsomeimaginedcomplete
freedomofthesubject—newprescribedmodesofbehaviorareofcoursegeneratedin
thisspace—rather,IaminterestedinthisspaceofdisorientationbecauseIbelievethe
pedagogicalimplications—inthiscase,agency,embodiedknowledgeandcollaborative
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relationships—tobeofvaluewithinaneducationalsystemthatisincreasingly
commodified,positioningitsstudentsasconsumersofready‐madeknowledge,training
themtobeaspassiveasthebodyistraditionallyunderstoodtobetothedemandsof
cerebralcognition.
InTheRainbowofDesire,Boaldescribeshisconceptofthe“aestheticspace”
whichisaspaceofknowledgecreation:“Theaestheticspacepossessesgnoseological
properties,thatis,propertieswhichstimulateknowledgeanddiscovery,cognitionand
recognition:propertieswhichstimulatetheprocessoflearningbyexperience.Theatreis
aformofknowledge.”Boal’sTheatreoftheOppressedworkdependsonthesuccessful
creationofanaestheticspacethatopensuppossibilitiesofbeinganddoingthatwould
beforeclosedwithinatraditionalhierarchicalspaceofdirectorasleaderandactoras
follower.WhileTheMasterandMargaritawasnotaTOpiece—andIamcarefulnotto
conflateanypedagogicallytransformationaltheatrewithBoal’sspecificwork—Ifind
Boal’sconceptof“aestheticspace”usefulforitsfocusontheneedtocreateadifferent
kindofspacewithinwhichtransformativeprocessescanoccur.Ibelievethatthespace
ofdisorientationcanbeonesuchspace,andfindthe“pedagogyofdisorientation”a
usefullensthroughwhichtoframemyanalysisofclassroomencounterswithideasof
thebodyandselfwithinFrenchmimethatIexamineinthefollowingchapters.
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Chapter2VentreandCerveau:
ContaminationAnxietiesinLateNineteenth‐CenturyFrenchMime
StudentlorehasitthatthebreakbetweenPhilippeGaulierandJacquesLecoq
hingedontheirdisagreementoverwhethertheperformer,whenimitatinganon‐
humanentitythroughmovement,ismeantto“become”thatentity.10Inthecaseofthe
elementofwater,forinstance,Lecoqaskedhisstudentsto“identify”withthewaterby
becomingit:“Jesuisfaceàlamer,jelaregarde,jelarespire.Monsouffleépousele
mouvementdesvagueset,progressivement,l’imageserenverseetjedeviensmoi‐même
lamer"[Iamfacingtowardsthesea,Iwatchit,Ibreatheit.Mybreathfollowsthe
movementofthewavesand,progressively,theimagereversesitselfandImyself
becomethesea](Corps53).11Gaulier,bycontrast,expresseshisviewonthematterin
nouncertainterms:“Youhavepleasuretopretendtobethewater.Youdonotbecome
thewater—ifyouthinkyouarewater,youdonotbelongintheclassroom,youbelong
inamentalhospital.”12Sofundamentalwasthisdisagreement,thestorygoes,that
GaulierleftÉcoleJacquesLecoqin1980andfoundedhisownschooltopracticehis
pedagogybasedaroundtheperformer’s“pleasureinpretending”tobethatwhichis
imitated.
10 Fromworkshopnotes,MasqueNeutre[NeutralMask]workshopatÉcolePhilippeGaulier,November2007.11 Unlessindicatedotherwise,alltranslationsinthischapteraremine.12FromunpublishedresearchnotestakenduringaMasqueNeutre[NeutralMask]workshopatÉcolePhilippeGaulierinNovember2007.
64
Aswithmanynarrativestoldbythosewithsecond‐handaccesstotheevents,
thisstoryistoosimplistic;Gaulier’sreasonsforestablishinghisownschoolcannotbe
ascribedtoasinglepedagogicalcontention.13Buttheissueof“identifyingwith”versus
“takingpleasureinpretendingtobethatwhichoneisimitating”pointstodifferences
withincontemporarymimetheoryoverwhattheperformer’sbody—inthelanguageof
mime,hergestures—revealaboutherinnerstate.14
Intheirownpedagogicalessays,manifestosandletters,themostfamousofthe
earlytwentieth‐centuryParisianmimepractitioners—agroupthatincludestheseminal
figureofJacquesCopeauandsubsequentteachers,practitionersandtheoristsreacting
withinoragainsthiswork,includingÉtienneDecroux,MarcelMarceauandLecoq—
differentiatetheirtechniquesfrommimetheoristsandpractitionersinnineteenth‐
centuryParisbyascribingtothelatteraconcernonlywithagesturalstylemeantto
replacewords.Thisissetagainstthepresumablytwentieth‐centuryconcernwithhow
interiorityinformsgesturalmovementasexpressionsofabstractfeelingsandconcepts
13Forexample,whenLecoqpublishedhispedagogicalbookLeCorpspoétique:unenseignementdelacréationthéâtralein1997[translatedbyDavidBradbyin2000asTheMovingBody:TeachingCreativeTheatre],heincludedacaveatabout“identification”:“Bienentendu,ilnes’agitpasdes’identifiercomplètement,cequiseraitgrave,maisdejoueràs’identifier"[Ofcourse,thisisnotaboutidentifyingcompletely,whichwouldbeserious,butaboutplayingatidentifying](Corps53),adescriptionthatresonateswiththeviewusuallyascribedtoGaulier.14ItisworthnotingthatPhilippeGaulierstronglydisavowsanyconnectiontothemimetradition;hisschoolisnotconsidereda“mimeschool”,althoughthemaskformsheteachesaredrawnfromJacquesLecoq’spedagogywhichwasheavilyinfluencedbyFrenchmime.TheconnectionsIdrawbetweentheFrenchmimetraditionandGaulier’spedagogyarethereforenottechnical,butideological.
65
ratherthantranslationsofwordsbymovement.15Aclosereadingofthelanguageused
inthewritingsoflatenineteenth‐centuryParisianmimeartistsandcritics,however,
revealsamorecomplexrelationshiptothequestionofhowtheyunderstoodgestural
expression.ThetextualexaminationthatIconductinthischapterilluminatesanxieties
overtheideologicalconstructofthe“natural”bodyasitwaspositionedagainstthe
constructsofsocializationandcivilizationinthelatenineteenthcenturyandidentified
withconceptsofgrossmateriality(suchasbodilyfluids)andtheorganic(theliving,
breathingbodysetagainstthecoldcorpse).Iarguethatlatenineteenth‐century
nostalgiaforandsimultaneousdisgustwitha“natural”Pierrotinfluencedthe
developmentoftechniquesofmimebasedonminimalistmovement.ByminimalistI
meansmallandcontainedbodilymovementsthatarediscernableonlyatclose
proximity,amechanizedperformancestylemarkedbyrapid,rigidmovements
associatedwiththeautomaton—positionedagainstthe“natural”bodyasidentified
withthefluidandorganic.
Myanalysisoftheemergenceofminimalismwithinmimepractice,throughclose
studyofthelanguageusedinthewritingsofpractitionersandlatenineteenth‐century
pantomimescripts,focusesonitssimultaneouslinkswith“natural”gesturesandwith
empty/mechanicalmovementvocabularies.Mimeartistsandcriticsoftheeraincluding
15SeeforexampleMiraFelner’sdiscussionofdenotativeversusconnotativemimetechniques,inwhichshelinksthetermstotheirlinguisticuses.Denotativemime,therefore,translateswordsintogestures;connotativemimeevokesmoregeneralideas.Felnersuggeststhatdenotativemimethereforereliesonpreexistentlanguage,andconnotativemimestrivestoemulate“gesturalexpressionpriortolanguage”(152‐4).
66
GeorgesWagueandPaulHugounetincreasinglyviewedemotionalexpressivity
conveyedviathephysicalbodyassuspect.Iconsiderthewaysinwhichthiscontested
siteoflatenineteenth‐centurymimepracticeperformativelytheorizedracialanxieties,
specificallyaroundtheideaofcontamination.TodothisIexaminethelanguageusedto
describebothgesturalstyleandPierrot’sphysicalbodyinlatenineteenth‐century
FrenchpantomimesinordertopositiontheperformedfigureofPierrotasasite
throughwhichaprocessofwhatIcall“contaminationanxieties”playedout.Iusethe
term“contaminationanxieties”heretorefertoanxietiesrelatedtomaintainingthe
purityofthewhitebody,whichIargueconnectstoracialanxietiesinthewakeof
colonialization.Forinstance,Pierrot’sskiniswhite,andmanypantomimesoftheera
suchasFernandDesnoyers’sLebrasnoir[Theblackarm](1856)andPaulMargueritte’s
Pierrotassassindesafemme[Pierrotassassinofhiswife](1888)linkthiswhitenesswith
bothpurityandsterilityandblacknesswithbêtismandtheoverflowingofcorporeality.
Thisdualitysuggests,Iargue,anxietiesovertheintrusionofracialdifferenceintothe
whitebodyintheeraofCharlesDarwin’s1872publicationofTheExpressionofthe
EmotionsinManandAnimals,whichconnectedhumanexpressivitytoacommon
descentfromanimals.Throughclosereadingofthelanguageusedinmimewritingsof
theera,Irelatethelatenineteenth‐centuryminimalistmimestyleinFrancetothese
anxietiesoverthreatstothepurityofthewhitebody.Contaminationanxietiesalsolink
toclass,aspantomimeartistsinthelatenineteenthcenturyincreasinglysoughtto
distancethemselvesfromtheworking‐classaudiencesthatfrequentedthemore
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popularpantomimevenues,suchastheThéâtredesFunambules,earlierinthecentury,
asevidencedinSouvenirsdesFunambules(1859)byJules‐Francis‐FélixHusson
(popularlyknownasChampfleury).Additionally,minimalistmimestylesdescribedin
languagesuspiciousofemotionalityandthebodyinfavorofreasonandcerebral
activity,asinJulesLaforgue’spoetryaboutPierrot,alsopointstoanxietiesoverthe
genderedbody.
InthischapterIbeginbydiscussingmysources,methodologyandintervention
inexistingscholarlydiscussionsonnineteenth‐centuryFrenchmime.Ithenanalyzethe
latenineteenth‐centurymovetowardsaminimalistmimestyleinlightofearliermime
stylesthatemphasizedsetgestures,linkingthisshiftbothtoaconcurrentshrinkingof
theperformancespaceandtoashiftinhowthebodyisunderstoodtoconveyemotion,
whichIarguewastiedtoanunderstandingofPierrot’sbodyassplitbetweena
grotesque,corporeally‐overflowingbodyandanempty,mechanical,purebody—in
Hugounet’sterms,Pierrot‐ventre[PierrotStomach]andPierrot‐cerveau[PierrotBrain],
respectively.Ithenanalyzetheinfluenceofideasofsang‐froid[cold‐blooded]and
automatisme[automatism]onlatenineteenth‐centuryFrenchmimestyles.Iarguethat
thewaysinwhichthesequalitieswereunderstoodinnineteenth‐centuryFrance
revealedadualroleofthe“natural”asaqualitytobebothsoughtafter—assmall,rigid
mimetechniqueswerebelievedtomoreaccuratelyrevealinternalreality—and
feared—duetothelinkingofthe“natural”withanimalityandadisruptionofthe
automaton‐likebody.Ithenlookcloselyatlatenineteenth‐centuryFrenchpantomime
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scripts,musicalscoresandpoetryaboutPierrottoanalyzethelanguageofemotional
expressionandthewaysinwhichthisshapedthebodyoftheperformedfigureof
Pierrot,suggestingthatthisfigurebecamebothastand‐inforamodernselfexpressed
throughsubtleand“natural”movements,andsimultaneouslyanemptybodywitha
plaster‐whitemaskforafacethatperformativelytheorizesthethreatenedsurvivalof
thewhiterace.Idigfurtherintothese“contaminationanxieties”throughananalysisof
pantomimesandthenineteenth‐centuryideaofbêtism,suggestingthattheseanxieties
accountinpartfortheapparentcontradictionbetweenminimalistmimetechniques
thatweremeanttomoreauthenticallyexpressemotionsandaperformedbody
distancedfromsignifiersoftheorganic,andconcludingthatlatenineteenth‐century
mimetechniquesrepositionedthequalitiesofbêtismasanexternalmaskandsang‐
froidasadistancedinnerself,inalignmentwithemergingideasoftheself,inwaysthat
allowedartistsbothtocelebrateandtodistancethemselvesfromtheanxiety‐provoking
categoryofthe“natural.”
Sources,methodologyandreviewofliterature
Inordertoinvestigatethisemergenceofminimalistgesturalstylesand
concurrent“contaminationanxieties”overthenaturalbody,Ianalyzethelanguage
usedinPierrotpantomimescriptsandopéra‐comique[comicopera]pantomimemusical
scoresfromtheeraalongsidelanguageusedinLaforgue’spoemsaboutPierrot.I
selectedtwelvepantomimescriptsandeightmusicalscoresthatwerepublishedand
69
performedbetween1856and1914,choosingthosethatwerewrittenbyormost
frequentlyreferencedinthewritingsofartistsandcritics(thesecategoriesoften
overlappedasinthecaseofWagueandChampfleury)includingHugounet,JulesJanin
andTristanRémy.IalsostudythecontemporaneouswritingsofFrenchpantomime
critics,playwrightsandteachersonPierrotperformers,performancespaces,audiences
andgesturalstyleaswellaspsychologicalpublicationsthatdealtwiththeemergingidea
ofautomatisme,includingtheRevuephilosophiquedelaFranceetdel’étranger
[PhilosophicalreviewinFranceandabroad],amonthlyjournalfoundedinParisin1876
whichinfluencedthedevelopmentofmodernpsychologyinFrance(Estingoy2008),and
PierreJanet’sL’automatismepsychologique:essaidepsychologieexpérimentalesurles
formesinférieuresdel’activitéhumaine[PsychologicalAutomatism:Evaluationof
experimentalpsychologyonthelowerformsofhumanactivity](1889).Ianalyzethese
sourcesforthewaystheydeploylanguagethatreferencesemotion,thebody’s
expressivity,andthenaturalversustheartificialormechanicalbody.Ilookspecifically
forlanguagethatascribedvaluetoparticularmodesofgestureandphysical
appearance,andlinkthesedescriptionstoconcurrentracialtheories.
InmyanalysisIdrawandexpandonprevioustheoristswhohavestudiedthe
figureofPierrotinnineteenth‐centuryFranceincludingRémy(1945,1954and1964),
RobertStorey(1978and1985)andLouisaE.Jones(1984).Ifindallthreeauthorsuseful
inpartfortheircarefulcompilationofoften‐obscurerecordsofnineteenth‐century
Pierrotperformances,reviewsandcriticalwritingswhichIdrawon.Iaddtotheir
70
archivalresearchbothbyanalyzingpreviously‐unexaminedpassagesincriticalwritings
includingChampfleury’sSouvenirsdesFunambules[MemoriesoftheFunambules]
(1859),Janin’sDeburau:histoireduthéâtreàquatresous[Deburau:four‐parthistoryof
thetheatre](1881)andHugounet’sMimesetpierrots:notesetdocumentsinéditspour
serviràl’histoiredelapantomime[Mimesandpierrots:notesandunpublished
documentstobeusedinthehistoryofthepantomime](1889),andbyanalyzing
previously‐unexaminedlanguageinpantomimescriptsthatrevealsgesturalstyle,
includingLéonHennique’sLesonged’unenuitd’hiver[Amidwinternight’sdream]
(1903),LéoRouanet’sLeventreetlecœurdePierrot[Thestomachandtheheartof
Pierrot](1888),CharlesAubert’sLesuicidedePierrot[ThesuicideofPierrot](1897),and
opéra‐comique[comicopera]musicalscoresincludingJeanHubert’smusicalversionof
EdmondRostand’sPierrotquipleureetPierrotquirit[PierrotwhocriesandPierrotwho
laughs](1899),16PaulVidal’sscoreforMargueritte’sPierrotassassindesafemme
[Pierrotassassinofhiswife](1888),andFrancisThomé’smusicalscoreforRaoulde
Najac’sBarbe‐Bleuette[Blue‐Beard](1890),noneofwhichareexaminedbyRémy,Jones
orStorey.Rémyiswell‐knowninthefieldasthemostprolificwriteronnineteenth‐and
earlytwentieth‐centuryFrenchmime,andIdrawonhisworksLesclowns[Theclowns]
(1945),Jean‐GaspardDeburau(1954)andGeorgesWague:lemimedelabelleépoque
[GeorgeWague:themimeofthebelleépoque](1964)bothforhisextensive
documentationofmimeandclowninthenineteenthcenturyandforhisanalysisofthe
16 JeanHubertisthepseudonymofAlexisRostand,EdmondRostand’suncle.
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WhiteClown/Augustecircusduo.IuseRémy’sdifferentiationbetweentheWhite
Clown/AugustefiguresasanexampleoftheemergenceoftwotypesofPierrotsinthe
latenineteenthcentury:apure,automaton‐likefigureanda“natural”,baseone.
Storeyalsodocumentsnineteenth‐centuryPierrotperformancesinPierrotson
theStageofDesire:Nineteenth‐CenturyFrenchLiteraryArtistsandtheComic
PantomimeandPierrot:ACriticalHistoryofaMask,focusingonapsychoanalytic
readingofthefigureanddocumentingthelatenineteenth‐centuryshrinkingofthe
performancespaceforpantomime,influencedbythedesireoflatenineteenth‐century
mimeartistsandcriticstomakepantomimeaneliteartform.InFranceattheendof
thenineteenthcentury,asStoreydocuments,artistsandcriticstiedaminimalist
approachtomovementtodirectexpressionsofinnerthoughtsandemotions.17Inan
articletitled“Commentonmonteunepantomime”[Howtomountapantomime]that
appearedalongsidehisplayPierrotconfesseur[Pierrotconfessor](1892)inthe
compilationLessoiréesFunambulesques[Funambulesque/acrobaticevenings],Félix
Galipauxwrote:
Today…thestudyofcharacter,offeelings—psychology,inaword—is
thething…Andthemimecertainofpleasingthepublicistheonewhose
17Thisminimalistapproachinfluencedthedevelopmentoftwentieth‐centuryphysicaltheatretraining:afterabandoningÉmileJaques‐Dalcroze’ssystemofeurhythmicsforplacingmusicbeforemovementandbeingtoorigidinitsuniformexercises,CopeauturnedtoGeorgesHébert’ssystemof“naturalgymnastics”whichfocusedoneconomyofmovement,aphilosophythatLecoqwaslatertoadopt.IdiscussCopeauandLecoq’smimetechniquesinmoredetailinChapter3.
72
meansaresimpleandvaried,hisgesturesrestrained,hardlyperceptible,
butextraordinarilysuggestive!(104,qtd.inStorey,Desire288)
GalipauxspokeformanyofhispeersintheCercleFunambulesque,agroupfoundedin
Paristhespringof1888tore‐inventpantomimeinresponsetoadeclineofgeneral
interestintheformthathadoccurredafterJean‐GaspardDeburau’sdeathin1946.
DeburauhadmadetheroleofPierrotfamousinthefirsthalfofthenineteenthcentury
atthepopularParisianvenuetheThéâtredesFunambules;mimeartistswhotookover
hisroleafterhisdeath,includinghissonCharlesDeburau—popularlyknownasDeburau
fils[sonofDeburau]—andPaulLegrandperformedinsmallervenuesforsmaller
audiences,andcriticsincludingChampfleuryandHugounetexpressedadesireto
elevatepantomimefromapopulisttoaneliteartform.18TheCerclewascomprisedof
seventy‐fivewriters,artists,actors,journalistsandcomposers,headedbyministry
officialandfuturetheatremanagerFélixLarcher.MembersincludedMargueritte,Najac,
Champfleury,LegrandandJulesLemaître.Thepublicly‐announcedgoalsoftheCercle
Funambulesqueincludedtherevivalofthe“classical”pantomimeofDeburau;the
presentationofpiecesrecoveredfromthecommediatradition;andtheproductionof
newworksofmodernpantomimeandplayletsinspiredbytheoldcommedia.
IexpandonStorey’sobservationsabouttheshrinkingoftheperformancespace
andgesturalstylebyexaminingthewaysinwhichpantomimeartiststhemselves
describegestureinthepantomimescriptsthatIselectedasoutlinedabove,looking
18 Foreaseofidentification,fortheremainderofthechapterIwilluse“Deburau”torefertoJean‐GaspardDeburau,and“Deburaufils”torefertohissonCharlesDeburau.
73
closelyatlanguagethatrevealsgesturalstyle.Thisincludes,forinstance,languagethat
canbereadasinstructionsfortheperformer’sphysicalperformance,aswellas
languagethatrevealswhatthebodymighthavelookedlike—orhowtheauthor
intendedittoappear—whileperforming.Ialsoexaminethewritingsofcriticsoftheera
suchasHugounet,Janin,ChampfleuryandWagueforhowtheirlanguageexpresses
valueabouttheatricalspace,theatricalbodies(performers’andspectators’)and
emotionalexpression.Itietheconcernwithdirectlyrepresentinginternalemotionsto
theemergingdisciplineofpsychologyinFranceandthetheoryofautomatisme,which
createdanewlevelofconsciousness—thesubconscious—thattheoristsunderstoodas
therepositoryofnon‐intentional,andthereforemoretruthful,humanimpulses.
InSadClownsandPalePierrots:LiteratureandthePopularComicArtsin19th‐
CenturyFrance(1984),JonesexaminesFrenchgrotesqueiconographythroughoutthe
nineteenthcenturyandanalyzesitinrelationtothemimepracticesoftheera.Ifind
particularlyinterestingherworkontheiconographyofthelatterpartofthecentury,
whichshearguesreveals“culturaltensionsbetweennaturalenergies—thosewhich
traditionallyprovidetheexuberanceofcarnivalhumor—andthematerialismofan
industrialagewhichfearedanimality”(121).IcomplicateJones’sreadingofthe
natural/materialistbinarybysuggestingthatlatenineteenth‐centuryattitudestoward
mimewereinflectedbyasimultaneousdesireanddisgustwhichbothinformedthe
minimaliststyleattributedtothepurePierrot.InthefollowingchaptersIfurtherthese
analysesbydrawingalinkbetweenthislatenineteenth‐centurydesire/disgustinfluence
74
onmimestylesandtwentieth‐centuryconceptionsofthemimebody—neutral,natural
andmechanical—andtheideaofthe“trueself”whichinformedthedevelopmentof
contemporaryFrenchmimetraining.
Pierrot‐cerveau,Pierrot‐ventre
Inhis1889historicalexplorationMimesetpierrots:notesetdocumentsinédits
pourserviràl'histoiredelapantomime[Mimesandpierrots:notesandunpublished
documentstobeusedinthehistoryofthepantomime],Hugounetdescribesamid‐
centurysplitofPierrotintoPierrot‐cerveau[Pierrot‐brain]andPierrot‐ventre[Pierrot‐
stomach]usingracializedterminology:“Pierrotsera‐t‐ilblanc,sera‐t‐ilnoir?Ventreou
cerveau?”[WillPierrotbewhite,orwillhebeblack?Stomachorbrain?](206).
HugounetheredividesPierrotbothraciallyandintobodypartsrepresenting,
respectively,vulgarappetiteandelevatedreason—animplieddivisionbetweenbody
andmind.Thisisatellingdivisionduringatimewhenmimeartistsadvocatedagestural
stylebasedonminimalistmovementandcenteredaroundthesubtleexpressivityofthe
face,thecerveausectionofthebody.Thesewordsappearinasectiononlate‐century
PierrotperformersincludingKalpestri;Hugounetspendsseveralpagesexpressinghis
disapprovalofKalpestri’sperformancestyle,whichheviewedasbaseandgrotesque,
over‐exaggeratingmovementsincontrasttomorerefinedmimeartists:"soulignant
sansnécessitécequeCharleseûtindiquéd'uncoupd'oeil,cequeGaspardeûtfait
comprendred'unsourire"[stressingunnecessarilythatwhichCharleshadindicatedwith
75
aglance,thatwhichGaspardhadconveyedwithasmile](179).Hugounethere
expressesthecommonlatenineteenth‐centuryvaluingofminimalistgesturesover
heightenedphysicality,comparingKalpestritoDeburauandDeburaufils.While
Deburaufils’smimestylehadbeeninfluencedbythesubtleemotionalexpressivityof
PaulLegrandandthereforeprefiguredthelatenineteenth‐centuryemphasisongestural
minimalism,Deburau’searlynineteenth‐centurymimestylewasmarkedbyheightened
poseswithinthelargetheatricalspaceoftheThéâtredesFunambules;hethereforewas
unlikelytohaverepresentedanemotionthroughasmilealone.Hugounet’sdescription
ofhiminthepassageaboveisnostalgic,revealingavalueplaceduponsubtletyof
gesturalstyleinthelatenineteenth‐centuryandapplyingitretroactivelytoahighly‐
regardedearly‐centuryperformer.
HugounetalsoidentifiesDeburaufils’sbodywiththatofapuppet:“…le
fantochetraduitparCharlesDeburauavaitlacoliqueplaisante,gaie;celuideKalpestri
étaitnaturaliste,sale”[…thepuppetinterpretationofPierrotbyCharlesDeburauhada
pleasantcolic;thatofKalpestriwasnaturalist,dirty](181).Hereacleardivisioncanbe
seenbetweenthesupposedpurityofthemind(cerveau)andthecontaminationofthe
body(ventre),asHugounetremovesDeburaufils’sfromtherealmofthe“natural”,the
fallibleand“dirty”corporealbody,duetohispuppet‐likemovements.Associationsof
mimeperformers’bodieswithautomataandpuppetswerecommoninlatenineteenth‐
centuryFrance,apopularitythatIpositionalongsidetheworksofHeinrichvonKleist
76
(1810)andEdwardGordonCraig(1908)ontheperformingmarionette,aswellasthe
emergenceofautomatismeinFrenchpsychology.19
Hugounet’sconcernwiththepurityofthemime’sperformingbodyandthe
correspondingsubtlegesturalstyleisechoedbylatenineteenth‐centurypantomime
artistWague,whowishedtomodernizemimepracticebypositioningminimalgesture
astheultimatecommunicationofinteriorreality.Asigninhisstudiostatedinno
uncertainterms:“LEMINIMUMDEGESTES/CORRESPONDAUMAXIMUM
D'EXPRESSION”[minimumgestures/correspondtomaximumexpression](qtd.inRémy,
Wague27).Hedefined“modern”pantomimeagainstitsearlier“classical”formby
attributingtothelatteranexclusivefocusongestureassilentlanguage(Rémy,Wague
39).Earlynineteenth‐centuryFrenchmimehadusedgestureasaformofsignlanguage;
scriptswerewrittenasspokenlanguagethattheperformerwouldthentranslateinto
gestural“speech”.Thiswasinpartbecausemuchearlynineteenth‐centurypantomime
developedinthewakeofstaterestrictionsonspokenlanguage(Jones16).These“sign
language”mimetechniquesexistedalongsidegesturaltechniquesofstrikingsetposes
toconveyarecognizablepassiondevelopedbyFrançoisDelsarteinthemid‐nineteenth
century,techniqueshedevelopedwithintheoriesofstagegesturebroughttothefore
byDiderot,whichdrewaone‐to‐onecorrelationbetweenouterexpressionandinner
feeling.Wague’sdesiretochangethesetechniquesintoamore“modern”formreflects
acommontendencytoattribute“artificiality”toearlieractingstyles.Thistendency
19 Iexamineautomatismeingreaterdetaillaterinthischapter,andanalyzetheinfluencesofKleistandCraigonlatenineteenth‐andearlytwentieth‐centuryFrenchmimeinChapter3.
77
persistsintothiscentury;mimetechniquesoftheturnofthecenturywereregardedas
emotionally“false”whenpantomimeswererevivedinthefirstdecadesofthetwentieth
century,andteacherssuchasCopeautookonthetaskofreinventingtheforminamore
“natural”style.
Earlytomidnineteenth‐centurymimeartistshadunderstoodtheperformance
vocabularyofDelsartianpose‐inflectedmimeasrenderingemotionslegibletothe
audiencethroughasetsystemofgestures.Inthelatterpartofthecenturyashift
occurredinFrancetowardsconceptionsofactingtechniquebasedonmovement
markedbytemporalflow,aspursuedbyConstantinStanislavski,fromtheearlier
conceptionofstaticgesturesandfacialexpressionsastechniquesdeployedbythe
skilledactorwhichrepresentedthecharacter’sinteriorcondition.Thelatterisindexed
byDenisDiderot’sdescriptionofDavidGarrick’simpressivesequenceoffacial
expressionsinLeparadoxesurlecomédien[Theparadoxoftheactor](published
posthumouslyin1830).InFrançoisDelsarte:ACodificationofNineteenth‐CenturyActing
(1999)GeorgeTaylordescribeshowthistechniqueofsetexpressiveposeswastakenup
indetailbyDelsarteinthemid‐nineteenthcentury(70).Delsarte’scloseobservationsof
“natural”gesturescomparedwiththeconventionsofthestagewasbasedontheLawof
Correspondencewhichpositedthebodyasareflectionofthesoul.Bytheendofthe
century,codifiedsystemsofgesturessuchasthatofDelsartewereregardedbyFrench
theatrepractitionersasquaintandout‐of‐date(72).Thiscouldbeunderstoodasone
reasonforthedeclineinthepopularityofpantomimeandofPierrotafterDeburau’s
78
deathin1846,asituationthattheCerclewasfoundedinparttoaddress.Frenchmime
practitionersofthelatenineteenthcenturywishedtoreinventthegesturalsystemof
mimeinlinewiththeincreasingemphasiswithinactingtheoryontemporalflow,orthe
movementsofthoughtthatpractitionersincreasinglyunderstoodasdefiningemotion.
Theshiftcanbediscernedinlanguageusedinbypractitionersandcriticsto
describethemimeperformer’semotionalexpressivity.Oneofthemembersofthe
Cercle,PaulLegrand,wasawell‐knownmidnineteenth‐centuryPierrotperformerwho,
despiteusingsetgestures,waswidelyacclaimedforhisabilitytoshowarangeof
emotionsonstage.Rémy’shighpraiseforhimcenteredonthisemotionalexpressivity:
“PaulLegrandaexprimésessentiments”[PaulLegrandexpressedhisfeelings](Deburau
176‐7).FélixandEugèneLarcher—Legrand’seditorsandlaterco‐foundersoftheCercle
Funambulesque—giveanaccountofLegrand’sperformanceasPierrotinTheButterfly
(1887)thatforegroundsemotionalexpressivity:asPierrotcourtsarose,hisface
“expresses”ecstasy,anda“tear”revealsthedepthofhisgrief(Pantomimes,qtd.in
Jones162‐3).TheemphasisonLegrand’sfaceandonsubtleexpressionsofemotion(a
singletear)isechoedinthelanguageusedinpantomimescriptsofthelatenineteenth
andearlytwentiethcenturies,whichIexaminelaterinthischapter,toindicate
emotionalgesturestoperformers.Theseindicatorsofemotionalexpressivitypointtoa
shrinkingofthegesturalstyleofmimeandanincreasedfocusonsubtleexpressionsof
thought.
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Amimestylebasedonsmallgesturesandaconcurrentincreasedemphasison
expressingthoughtandsubtleemotionsrepresentedoneoutcomeoftheshifting
understandingofwhatconstituted“natural”performanceandtheresultingdeclinein
popularityofthegesturalmimestylebasedonlargesetposes.Thisstyledevelopedin
thelatenineteenthcenturywithinincreasinglyeliteandexclusivetheatres.Storey
documentshowPierrotperformersinthe1880sand1890sperformedinincreasingly
smallvenuesforincreasinglyselectaudiences(Desire290).Performancessponsoredby
theCerclewereoftenlimitedtothreeperformersinsideasalon.Asthiseliteinterestin
Pierrotdeveloped,sotoodidamimetechniquebasedonminimalistmovement,as
criticsincreasinglyregardedtheearliermimestylebasedonsetposesasartificial.Najac
performedseveralpantomimesattheCirqueMolier,apopularmimevenueinParis,
andblamedtheirfailureonthesizeoftheaudiencewhocouldnotperceivehissubtle
gestures(Jones167).SubtletyofgesturehadbeenpraisedasfarbackasDeburau;while
hisgesturalstyle,however,hadlikelybeenfarmoreexaggeratedthanhiscritics’praise
mightsuggest,thesubtletiesattributedtoNajacandotherlate‐centuryPierrotswere
likelyinformedbythesmallsizeoftheperformingspace—aspacethatcouldbemore
easilycontrolled,couldexcludeunpredictableorchaoticelements.20Thiscarefulcontrol
20InSouvenirsdesFunambules[MemoriesoftheFunambules]Champfleurywritesdisparaginglyoftheworking‐classaudiencesintheThéâtredesFunambules,attributingbasequalitiestothemusingcomparisonstonatureandawhiteaspurity/blackasfilthduality:“Quandlesvoyousapplaudissentavecleursgrossesmains,noirescommel’ailed’uncorbeau,crevasséescommeunravinetsolidescommedelacornedebœuf,çasonnepirequ’untambour”[Whenthethugsapplaudwiththeirbighands,blacklikewithwingsofaraven,crackedlikearavineandstrongasanoxhorn,itsoundsworsethanadrum](181).
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oftheinteriorofthetheatricalspaceparallelsasimilarobsessionwithcontrollingthe
interiorofthebodythatcanbediscernedinthedescriptionsofPierrotsandothermime
performersbybothcriticsandplaywrights,whichdescribetheirbodiesasemptyand
cold.21Thisemptinessandcoldnesscouldbeunderstoodasaformofsterility,and
positionstheidealizedPierrotbodyasamechanicalone,setagainsta“natural”bodyof
warmth,corporealityandfecundity.InthenextsectionItracetheemergenceof
minimalistmimegestureswhich,Iargue,weretiedtothisidealizationofamechanical
Pierrotbodyalongside,inaseemingly‐contradictoryduality,apushtowards“natural”
gesturesthatrevealedthoughtsandsubtleemotions;Ithentakeacloserlookat
languagerevealingcontaminationanxietiesthatIargueunderliethisduality.
Sang‐froidandautomatismeinlatenineteenth‐centuryFrenchmime
InFranceattheendofthenineteenthcenturyFrenchmimepractitioners
increasinglylinkedaminimalistapproachtomovementtodirectexpressionsofinner
thoughtsandemotions.ThiswasincontrasttoDeburau’searlynineteenth‐centurystyle
ofmimesautante[leapingmime],basedonstrikingsetposes.AfterDeburau’sdeathin
1846,Deburaufilstookoverhisfather’sroleofPierrot,investingitwithhisown
performancestyle:elegant,graceful,aprototypeofwhatHugounetlatertermed
Pierrot‐cerveau.MimecriticJanin’spraisein1881ofDeburaufilssignificantlyincluded
21 See,forexample,thedescriptionofPierrot’sfaceas“uneinondationglacée"[anicyflood](Hennique6);ofPierrot’smovementsas“glacialetcalme"[glacialandcalm]and“froid”[cold](Laforgue2,7);ofhisbodyasfreezing:“Ilatrèsfroid"[Heisverycold](Beissier6).
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thetermsang‐froid[cold‐blooded]:“Deburautrouvasonsang‐froid…quifaitsagrande
supériorité"[Deburaufoundhissang‐froid…whichgavehimhissuperiority](69).In
Janin’susage,sang‐froiddescribedthatqualityofflexibleactingabilitypraisedby
Diderot,aqualityheldbytheperformerwhocouldseamlesslyshiftfromoneheld
attitudetothenext.JaninconnectedDeburaufils’srenownedsang‐froidtohisrobust
emotionalpower;themime’sabilitytotransitionquicklybetweenfixedattitudeswas
understood,followingDiderot,asastrengththatallowedperformativeflexibilityrather
thanacapitulationtothewhimsofmomentarypassions:“C’estausang‐froidà
tempérerledéliredel’enthousiasme”[Itiswithsang‐froidthatonetempersthe
deliriumofenthusiasm](Diderot,Paradoxe36).Writingin1881aboutmimeartistsfrom
earlierinthecentury,Janin’suseofsang‐froidasatermofpraiseresonatedwitha
valuingofsang‐froidasimpassivitythatbegantogaintractionintheFrenchmimeworld
fromthemidnineteenthcentury.Practitionerslaudedtheabilityoftheartisttobeun‐
movedandun‐movable(asopposedtosensibilitéwhichdenotedanabilitytobe
affectedormovedbyfeelings)asallowingtheartisttooccupyaprivilegedvantagepoint
ofobjectivevision.InalettertoLouiseColetwrittenin1852,GustaveFlaubert
referencesthisideaofsang‐froidwhenhewritesthattheworkofagreatartististo
makeone“awareofasecretimpassivenessineveryatomandateveryangleofvision;
theeffectonthespectatorshouldbeakindofastonishment”(qtd.inNichols11,
emphasisadded).Flaubert’suseof“secret”pointstoanemphasisontheprivate
sphere,asenseoftheselfasdividedbetweenaprivate,“authentic”selfandapublic
82
performedself.Thisemphasisledtoanincreasingparing‐downofPierrot’saccessibility
fromapublicfigureintimatelytiedtolepeuple(asDeburau’sPierrot,performingtothe
largecrowdsattheFunambules,hadbeenviewed)toasolitaryfigure,misunderstood
bythemassofhumanity,speakingtothestateoftheisolatedartist.Pierrot’s
performingspaceaccordinglyshrankfromtheopenairoftheBoulevardatthestartof
thenineteenthcenturytotheenclosedyetstillpublicly‐accessibleFunambulesto,inthe
lasthalfofthecentury,thetinysalontheatrethatcouldonlyaccommodateasmall
numberofspectators.
Latenineteenth‐centuryFrenchpantomimetextsrevealacorrespondingshiftin
gesturalstylefromthemimesautante[leapingmime]ofDeburautoamoresubtlestyle
markedbytinymovementsthatwouldonlybelegibleinasmallperformancespace.
Hennique,inhis1903Lesonged’unenuitd’hiver[Amidwinternight’sdream],describes
minutefacialexpressionsofPierrot:“l’œilaiguisé,lalèvreméchante”[eyesharp,lip
nasty](3).ThephysicalgesturethatthePierrotperformerwouldhaveusedtodenotea
sharpeyeoranasty(presumablycurled)lipwouldnothavebeenlegiblefromthestage
oftheFunambules;thesmallerperformancespacesoftheselate‐centurypantomimes
allowedforsuchminutegestures.Similarly,Colombine’seyesbecomeafocalpointto
representhermoodinPartIIIofFernandBeissier’sLaLune[TheMoon](1890):“les
yeuxdeColombinesontmoinssévèresquetoutàl’heure”[Colombine’seyesareless
severethanbefore](2).IntheopeningsectionofLeSuicidedePierrot[TheSuicideof
Pierrot](1897)Aubertsetsthepieceina“salonmodeste”followedbyapassage
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describingsubtleemotionalgesturesforPierrot:“Peuàpeuils’attendrit,sonvisage
s’allonge,sestraitsdeviennentgrimaçants;ilpleure.Soudainunerésolutionéclatedans
sesyeux”[Littlebylittlehesoftens,hisfacelengthens,hisfeaturesbecomegrimaces;
hecries.Suddenlyacleardecisionshowsinhiseyes](3‐4).Thelatenineteenth‐century
focusonminimalistgesturalstyleisrevealedinthisincreasingfocusonthefaceinthese
pantomimes:thefaceelongating,lipscurling,eyesrevealingemotionorideas.
Oneoftheeffectsofshrinkingthegesturalmimestylewasauniversalizingone:
byappearingtodistancethemselvesfromthepassionsthattheirbodiesrepresented,
mimeperformersintheminimaliststyleembodiedtheobjective,“neutral”observer
unencumberedbytheidiosyncrasiesthatmightreveal(racial,class,gendered)
difference.Theimplicationsofthisembodiedpracticecorrespondtolanguageusedto
describegesture;XavierAubryetintheCercleprologueof1888describesgesturein
universalizingterms:“[SinceGesture],unlikediscourse,cannotbeempty,andsinceit
extendsitsdomainsoverallhumanity,GestureistheeternalWordofallhumanity”
(qtd.inJones168).Thebeliefthatgestureaccessedacoreofcommonhumanity,
bypassingtheissuesofspokenlanguagecomprehension,wasanextensionofthe
eighteenth‐centurytenet,whichnineteenth‐centuryFrenchactingtheoryhadinherited,
thatallhumanbeingsarebornwithapre‐existingnaturalmorality.Thistenetalso
includedthenotionof“humannature”whichrequiredreasontoalignactionswith
naturalmorality;thosethatwerecapableofthisthereforebehavedmore“naturally.”
Whilemimegesturaltechniquesinearlynineteenth‐centuryFrancefocusedon
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conveyingliteralmeaningduetotherestrictiononspokenlanguageintheboulevard
theatres,asmimebecameincreasinglybourgeoisinthelatenineteenthcentury,focus
turnedtoquestionsofauthenticityofemotionalexpression.
Thisfiguringofthemimeasatransparentmediumforemotioncanbelinkedto
anideaofuniversalitythatJulesLemaîtreascribedtoPierrotin1890.Accordingto
Lemaître,Pierrot’sgesturesconveyedaninternalrealitythat,whenviewedbythe
audience,wouldevokeuniversaltruths.Lemaîtrewroteofanidealpantomimictheatre
inwhich
…thesesilentspectacleswouldworktheirmagicbyawakeningwithinus
amassofmemories,impressionsanddreams…thesmallestgestureof
Pierrotwouldbesuddenlycombined,inourmemories,withaboutsixor
sevengreatpoets.(Impressionsdeuxième354,qtd.inJones165)
ThislinksPierrot’sgesturesnotonlytogeneralhumanexperience(“memories,
impressionsanddreams”)buttotheartisticelite(“greatpoets”),representingtwo
levelsoftheuniversal.InanarticlewrittenaboutMargueritte’s1888pantomimePierrot
assassindesafemme[Pierrotassassinofhiswife](apieceIanalyzeingreaterdetail
laterinthischapter),Lemaîtreexpandsontheartisticlevelofuniversality,linkingthe
physicalappearanceofPierrot’sfacetothetraditionofclassicalmasks:
…cettetêtesimplifiée,artificielle,sanscheveux,sansmodelé,cettelune
oblongueoùTon[sic]nevoitsurlablancheurplatedufondquelestrous
desyeuxetdesnarinesetlalignedessourcilsetdelabouche,cettetête
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esttrèsréellementtragique...Aufait,ellel'estprécisémentdelamême
façonquecesautrestêtesartificielles,cesmasquesdontsecouvraient
lesacteurspourjouerlesdramesd'EschyleetdeSophocleetqui,àcoup
sûr,nedonnaientnulleenviederireauxGrecsingénieux.
[…thissimplifiedhead,artificial,withouthair,withoutmodeling,this
oblongmoonwhereoneseesnothingontheflatwhitenessbuttheholes
oftheeyesandnostrilsandthelineoftheeyebrowsandmouth,this
headistrulytragic…Infact,itistragicinpreciselythesamemanneras
otherartificialheads,themasksworntocovertheactorswhoperformed
thedramasofAeschylusandSophoclesandwhocertainlygavethe
ingeniousGreeksnodesiretolaugh.](Impressionstroisième351,
emphasisadded)
Lemaître’stextbothrevealsassumptionsabouttheuniversalityofthemaskform(‘’itis
tragicinpreciselythesamemanner…”)anddescribesPierrot’sfaceasalifelessmask
markedbywhitenessbrokenonlybythedark,emptyholesoftheeyesandthenostrils.
ThisimageevokestheacrobaticHanlon‐Leebrothers(Figure1)whoperformedPierrot
pantomimesinthe1870sand1880susingamimestylebasedonfreneticmovement,a
stylethatcomplicatedthemeaningofsang‐froid,retainingtheideaofuniversalitybut
alteringwhatgesture“revealed”abouthumannatureandthewaysinwhichthehuman
body’sinteriorwasconceptualized.WhentheacrobaticHanlon‐Leebrothersappeared
inthe1870swiththeirviolent,freneticacrobatics,thefigureofPierrotinpantomimes
86
wasincreasinglythatofacold‐bloodedmurderer,andsang‐froidhadtakenonasinister
quality,asenseofexposingtheemptinessbehindthemask.
Figure1:TheHanlon‐Lees22
Inasectiontitled“LaPantomime”inhisessayLenaturalismeauthéâtre
[Naturalisminthetheatre]ÉmileZolapraisedtheHanlon‐Leesfortheircoldness:
“L'observationcruelle,l'analyseférocedecesgrimaciersquimettentànud'ungesteou
d'unclind'oeiltoutelabêtehumaine”[Thecruelobservation,thefierceanalysisof
thesegrimacingmenwhoexposewithagestureorwithawinkallofthehumanbeast]
(34).Helinkedtheirviolentpantomimetechniquestolargerphilosophicalthemesofthe
emptinessofhumanexistence:“Aufond,c'estlanégationdetout,c'estlenéant 22 TheHanlonLeebrothersinLeVoyageenSuisse[TheVoyageinSwitzerland].PhotoattributedtoNadar,c.1878‐1879.
87
humain”[Atthebottomisthenegationofall,ishumannothingness](36).D.L.Murray
concurred,describingthebrothersas“thecynicphilosophersofthefin‐de‐siècle,the
unconsciousprophetsofthecrashofcivilization”(qtd.inTowsen175).Criticsexplicitly
connectedtheperformancestyleoftheHanlon‐Leestomechanism,describingtheir
movementsaspreciseandregulated.RolandAuguetsummarizesthewideconsensuson
theirgesturalstylewhenhewrites:
Theircomiceffectsweredrawnprimarilyfromautomatism,fromthe
productionofgesturesinserieswhoseperfectlinking,leadingto
unexpectedconvulsions,inducedlaughter.Theygavetothehumanbody
thevirtuesofthemachine.(51,qtd.inJones154)
Thisreferenceto“automatism”issignificant,andpointstoalinkbetween
concurrentideasinFrenchpsychologyandtheemptinessbehindthemaskthatmarked
theappearanceanddescriptionsoftheHanlon‐Lees.Latenineteenth‐centuryFrench
mimeartistswereincreasingobsessedwiththeautomaton,themarionette,and
tableauxvivants.ThisfascinationinthemimeworldcoincidedwithFrenchpsychology
theorists’interestintheideaofautomatisme.Inthelatterpartofthenineteenth
centurythefieldofFrenchpsychologywascomprisedofacombinationofphilosophy,
spiritualismandphysiology,withtheoristsinthelattercampattemptingtotietogether
mentalandphysiologicalphenomena.In1885ThéoduleRibot,aphilosopher,and
CharlesRichet,aphysiologist,foundedtheSociétédePsychologiePhysiologiqueinParis
withtheintentionoffurtheringthestudyofstatessuchashypnosis,hysteriaand
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catalepsy,includingtheautomaticmovementsthataccompanythesestates,classedas
automatisme.Ribot,Richetandmanyoftheircontemporariesadvocatedanideaof
automatismethatpositioneditasentirelymechanical,operatingwithout
consciousness;theydisseminatedmanyoftheseideasthroughthemonthlyjournal
RevuephilosophiquedelaFranceetdel’étranger[PhilosophicalreviewinFranceand
abroad].Thisideaofautomatichumanactionssuchasconvulsions—actionsthatthe
Hanlon‐Leesincorporatedintotheirmimestyle—performedwithoutconsciousness
resonateswiththeempty‐eyedappearanceoftheHanlon‐Lees,andtheideathatthe
maskoftheirfaceshidaninneremptiness(lackofconsciousness).
However,thisideaofmovementperformedintheabsenceofconsciousnesswas
challengedin1889whenPierreJanet,ayoungpsychologicalprofessorwhowasa
memberoftherecently‐formedsociety,publishedhisthesisL’Automatisme
Psychologique:Essaidepsychologieexpérimentalesurleformesinférieuresdel’activité
humaine[PsychologicalAutomatism:Evaluationofexperimentalpsychologyonthe
lowerformsofhumanactivity].InthisthesisJanetreworkstheprevalenttheoryof
automatismethatdefineditasanentirelymechanicalact,arguingthatadegreeof
consciousnessisalwaysinvolved.Janetbeginsbychallengingthisideaofautomatisme
as“purementmécaniqueetabsolumentsansconscience”[purelymechanicaland
absolutelywithoutconscience](2),arguingthatthisisbasedonamisunderstandingof
thefullrangeofhumanconsciousnesswhichcanincludeautomaticelements:
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Cetteinterprétationaétél’originedeconfusionsnombreuses,et
beaucoupdephilosophesserefusentàreconnaîtredansl’esprithumain
unautomatisme,quiestcependantréeletsanslequelbeaucoupde
phénomènessontinexplicables…Nouscroyonsquel’onpeutadmettre
simultanémentetl’automatismeetlaconscience…
[Thisinterpretationoriginatedoutofseveralconfusednotions,andmany
philosophersrefusetorecognizeanautomatisminthehumanspirit,
whichishoweverrealandwithoutwhichmanyphenomenaare
inexplicable...Webelievethatit’spossibletorecognizesimultaneously
bothautomatismandconsciousness…](2)
Janetproposesadifferentlevelofconsciousness,thesubconscious,thatgoverns
automaticactions.Heseparatesthesubconsciousfromthepartoftheconsciousness
thatmaintainsthepersona,thesenseofselfor“l’idéedumoi”(39).Todothis,he
redefines“moi”fromatranscendentbeingtoacollectionofideas,memoriesandhabits
thattogetherconstituteasenseofself:
L’idéedumoi,eneffet,estunphénomènepsychologiquefortcompliqué
quicomprendlessouvenirsdesactionspassées,lanotiondenotre
situation,denospouvoirs,denotrecorps,denotrenommême,qui,
réunissanttoutescesidéeséparses,joueungrandrôledansla
connaissancedelapersonnalité.
90
[Theideaofme,ineffect,isacomplexpsychologicalphenomenonwhich
ismadeupofmemoriesofpastactions,theideaofoursituation,ofour
power,ofourbody,evenofourname,which,bringingtogetherallof
thesedisparateideas,playsalargeroleintheknowledgeofour
personality.](39)
WhatissignificanthereaboutJanet’stheoriesisbothhisreworkingoftheselfand
consciousnesswhichprefiguredFreudandanearlytwentieth‐centuryinterestinthe
“authentic”selfthatliesbelowconsciousness,themesthatItakeupinChapter4.The
widertheoriesofautomatismethathearguedagainst,whichidentifiedthehumanwith
themechanical,resonatewithpracticesinlatenineteenth‐centuryFrenchmimethat
positionthebodyasmechanical,fleshasrigid,andsang‐froidasinnercoldness.
Pantomimesoftheeraincreasinglyreferencedstatues,automataandpuppets,
andthemovementstylesofmimesbecamesmaller,morerapidand“mechanical”or
stiff.InPierrotsceptique[Pierrotskeptic](1881)byHenniqueandJ.K.Huynsman,
Colombineiscomparedtoastatue:“Ellesetientrigide,sansregard,commeunestatue"
[Shestandsrigidly,withoutseeing,likeastatue](23).EugèneSue’sheroineBasquinein
hispantomimeMartinoulesmisèresdesenfantstrouvés[Martinorthemiseryofthe
foundchildren](1851)explainshowonebecome“unefilledemarbre”[amarblegirl]:
borrowingmultipleartificialroleshasleftherincapableoffeeling,withonly“that
leproussouloneacquiresinevitablyfrombeingasaltimbanque[acrobat],avagabond,a
thief,astreetsingeroranextraonstageforsixsous.”Shehasbecome“alivingmarble,
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worsethanmarble,formarblecannotlaugh”(qtd.inJones138).InJones’sexamination
oflatenineteenth‐centurygrotesqueiconography,shedocumentshowthecircusclown
withahugetriangularhead(oftenaccompaniedbyasinistersmile)emergesforthefirst
timeinpostersandcircuscostuming.Pierrot’sseveredheadappearswithincreasing
frequencyingrotesqueiconography,andhispantomimecostumeincludesawhite
headbandtoextendthesizeofhisforehead.Jonesarguesthatlargeforeheadswerea
featureoftheRomanticeraaswell,butthentheywereassociatedwithrichnessof
intellect,withinteriormultipleworlds.Bythelatenineteenthcentury,however,the
largeheadhadbecometheseatof“cerebraleroticism”,associatedwithbothpower
andillness—onceagainbodilyimageryisextendedintolargersocialrealms,foritwas
duringthistimethatPaulVerlainedescribedParisasanenlargedheadtoinsistonits
overgrownimportance,andcerebralmedicalterminologybecomesincreasingly
associatedwiththemechanical,head‐enlargedclown.Jonesdrawsaconnection
betweenthemechanicalmovementsofclownsandhystericalepilepsyinlate
nineteenth‐centurymedicalterminology:itissignificant,forexample,thattheterm
“clonicspasm”(fromtheGreekklonos,violentmotion)inmimediscoursebecame
clownisme.CriticsandplaywrightsincreasinglydescribedPierrotasmechanical,havinga
tic,awayofmovingthatsuggestsmachinery—theclown’sgrowingassociationwith
puppetry(136).
IextendandcomplicateJones’sanalysisherebyarguingthat,paradoxically,the
veryautomaton‐likemovementsoflatenineteenth‐centurymimearethegesturalstyle
92
ofa“natural”Pierrot,aPierrotwhoseminimalistgesturesconveyinnerreality.Inthe
nextsectionItakeupthisquestionofthe“natural”invadinganddisruptingthe
dispassionatesang‐froidandmechanicalbodyoflatenineteenth‐centurymime,bothas
anintentionalperformancestyle(whensmall,rigid,precisemovementsdrawnfromthe
movementsofautomatonsfunctionexplicitlyasanew“natural”mimetechnique)and
asaperformativeworkingoutofcontaminationanxieties,inwhichthe“natural”(as
animality,thevisceral,labêtise)disruptstheautomaton‐likebody.Inotherwords,late
nineteenth‐centuryFrenchmimewasengagedinacomplexandconflictingdialogue
withthe“natural”asaqualitytobebothsoughtafterandfeared.
Minimalismand“natural”anxieties
In1920asmallmimepiecetitledMainsetmasques[Handsandfaces]openedat
L’OlympiaPariswrittenbyandstarringthefamousfindesièclePierrotperformer
GustaveFréjavilleSéverin,whohadfirstpublishedthetextin1914.Inthepantomime,
aslaterdescribedbyRémyinGeorgesWague,Pierrotappearsasaspectralfigure
whosehandsandfacearetheonlyvisiblepartsofhisbodymovingacrossthedark
stage:“Pierrot,toutdenoirvêtu,fondudanslesnoirceursd'unetoiledefondnelaissait
plusvoirquesonvisageetquesesmains”[Pierrot,dressedentirelyinblack,meltedinto
theblackbackgroundleavingnomoretoseethanhisfaceandhishands](153).Rémy
ascribesthisreductioninthevisibilityofthebodytoWague’smimetechnique:
93
AinsiSéverinréduisaitsonpouvoirdesuggestionàlatechniquede
GeorgesWaguequidepuislongtempsenseignaitquelesmainsetle
visagedevaientêtrelessourceessentielles,sinonabsolues,desmoyens
d’expressiondumime.‘Mainsetvisage,disait‐il,parlentauxspectateurs
mieuxquelesgestesdesbrasetlesattitudesducorps’.
[ThusSéverinminimizedPierrot’spowerofsuggestionfollowingthe
techniqueofGeorgesWaguewhoforalongtimehadtaughtthatthe
handsandthefacemustbetheessential,ifnottheabsolute,sourceof
themime’sexpression.‘Handsandface,’hesaid,‘speaktothespectators
betterthanthegesturesofthearmsandtheattitudesofthebody.’]
(Wague153‐4)
Thisreferenceto“attitudes”ofthebodyevokestheDelsartian‐inspiredgesturalstyle
thathadinfluencedFrenchmimeinthefirstpartofthenineteenthcentury,atechnique
thatWagueexplicitlyworkedagainst.AsdescribedbyRémy,Waguepositionedhis
mimetechniqueagainst“classical”mimedefinedbytheexaggeratedgesturesof
melodrama,astylethatWaguebelievedcouldnotaccuratelyconveyseriousfeeling:
“Lessentimentsvenusdelaprofondeurdel’être,nulgeste,nullegrimace,nulle
emphasenepeutlessuggérerquinesoitridicule,c’est‐à‐direcomique"[Thefeelings
thatcomefromthedepthofbeing,nogesture,nogrimace,noemphasiscansuggest
themwhichisnotridiculous,thatistosaycomical](Wague104).Waguepreferred
insteadminimalistmovementthatconveyedfeeling“parl’intensitédesexpressionsdu
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visage,parlaconcentrationd’uneattitudeseulementtraverséepardesréflexes
esquissésàpeineetquitraduisentlesréactionsd’unepenséeenperpétuelleaction"[by
theintensityoffacialexpressions,bytheconcentrationofanattitudeonlyshifting
throughbarelydefinedreflexes,whichtranslatethemovementsofthoughtinto
perpetualaction](Wague104).Wague’sconnection,accordingtoRémy,offeelingswith
boththe“depthofbeing”andthoughtandhisdismissaloflargebodilygesturesreveals
amistrustofanapparently‐uncontrolledphysicalbody,aprivilegingofinnercognitive
process,andapositioningoftheperformer’sselfdeepwithinthebody,athemeItake
upinChapter4.Hepostedthefollowingthreephrasesabovethedoorsofhismime
schoolinParis:
SANSLAPENSÉELEGESTEESTINUTILE.
LEGESTEN’ESTQUELECOMPLÉMENTDELAPENSÉE.
LEMINIMUMDEGESTES
CORRESPONDAUMAXIMUMD’EXPRESSION.
[Withoutthoughtgestureisuseless.
Gestureisnothingbutthecomplementofthought.
Theminimumofgestures
correspondstothemaximumofexpression.](Wague182)
Thebodyhereisdismissedentirelyinfavorofthevalueofcerebralactivity;gestureis
onlyusefulasadirectandverysubtlevehicleforthought.Waguehailedhis“modern”
95
pantomimeasatechniquethat,bycontrollingtheexpressionsofthebody,allowedthe
directexpressionofthoughtandfeelingsfromthe“depthofbeing”.
Thisincreasedprivilegingofminimalistmovementcanbediscernedinshiftsthat
tookplaceinthegesturallanguagewithinFrenchpantomimetextsofthesecondhalfof
thenineteenthcentury.Earlierpiecesdescribeactioninfairlystraightforwardlanguage,
alongside“speech”thatPierrotismeanttomime.Forinstance,the1879pantomime
Pierrotterrible[TerriblePierrot]byRichardLesclideandfeaturingtheacrobaticHanlon‐
Leebrothersdescribesactionwithnomodifyingadjectives:“LesPierrotss’en
réjouissentets’enlèchentlesdoigts”[ThePierrotsrejoiceandlicktheirfingers](2).
LesclidedoesnotspecifyherehowthePierrotsperformrejoicingorlickingtheirfingers;
thisisastylethatheusesthroughoutthepieceasinhisdescriptionofthegreattumult
thatensueswhenabankercatchesthePierrotsstealing:“oncrie,onappelle,onse
sauve,onsebat”[theycry,theycallout,theytrytoescape,theyfight](3).This
straightforwarddescriptionofactioncanbecontrastedwithpantomimetextsfromthe
followingdecadesinwhichwritersdescribemovementusingincreasinglyspecificand
minimalistlanguage,andincreasinglytiegesturetothoughtandassignittosubtlefacial
movements.HenniqueandJ.K.HuysmansinPierrotsceptique[Pierrotskeptic](1881)
instructPierrottoperformhisgesturesmoregentlyinScene8:“Sesmanières
deviennentplusdouces”[Hismannerismsbecomesofter](21).Theyassignathoughtto
Pierrotthattheperformerwouldconveythroughmime:“«Lesparfumsdefeuema
femme,pense‐t‐il»"[‘Theperfumesofmylatewife’,hethinks](21).Thispantomime
96
andLesclide’swereproducedwithintwoyearsofeachother,andcanbeseenas
representativeofamomentofshiftinFrenchpantomime’sgesturalstylefromthe
mimesautante[leapingmime]thathadbeenpopularintheearlynineteenthcentury
andthelatenineteenth‐centurysubtle,minimaliststyle.
Thislatterstyleisevidencedinlatenineteenth‐andearlytwentieth‐century
pantomimesincludingHennique’sLesonged’unenuitd’hiver[Amidwinternight’s
dream](1903)inwhichPierrotisdescribedwith“l'œilaiguise,lalèvreméchante”[sharp
eye,wickedlip](2).ColombineconveysdisapprovalofArlequinthroughherfacein
Najac’sBarbe‐Bleuette[BlueBeard](1890)inwhichherface“prenduneexpression
méchante"[takesonawickedexpression](3),“aunsouriremalicieux"[hasamalicious
smile](4),andconveysaplotpointtotheaudience:“elle…lanceauplacardunregard
quifaitprévoiraupublicquePierrotneserapaslederniermarideBarbe‐Bleuette"[she
…givesalooktotheclosetthatconveystotheaudiencethatPierrotwillnotbethelast
husbandofBarbe‐Bleuette](6).23This“look”doesnotdenoteemotion,butintention—
anexampleofgesturebecomingincreasinglytiedtothought.ApassageinRouanet’sLe
ventreetlecœurdePierrot[ThestomachandtheheartofPierrot](1888)appearsto
describePierrotmovingthroughaseriesofemotionalposesreminiscentoftheearlier
nineteenth‐centurygesturalstyleofstrikingattitudes,withtheexceptionthatitishis
facestrikingtheattitudes:“LaphysionomiedePierrotexprimetouràtourlasurprise,la
passion,leravissement,l’extase"[thefaceofPierrotexpressesinturnsurprise,passion,
23“Bleuette”isthefeminineformof“bleu”[blue]inFrench,andisusedinthispantomimebecausethenamereferstoColombine.
97
rapture,ecstasy].Thesefacialattitudeswerelikelyintendedtobesubtle(notthe
“grimaces”thatWaguesodisdained),basedonalettertoHugounetthatRouanet
composedin1887inwhichhedescribesthegesturalstyleofhispantomimeas“une
successiondegestesnoblesetcalmes"[asuccessionofnobleandcalmgestures](qtd.
inHugounet234).InLeSuicidedePierrot[TheSuicideofPierrot](1897)Aubertsimilarly
locatesanexpressiveattitudeintheface:“Toutesaphysionomieauneexpression
stupide”[Hisentirefacehasastupidexpression](7).PaulLheureux,atthebeginningof
Crimeetchâtiment[Crimeandpunishment](1891),describesasequenceofactionsthat
Pierrotperformsangrily;hedescribestheemotionitselfas“concentrated”:“Safureur,
pourêtreconcentrée,n’enestpasmoinsterrible”[Hisfuror,forbeingconcentrated,is
notthelessterrible](4).
Latenineteenth‐centurytheatricalworkswithaspeakingorsingingPierrot
similarlycontainedlanguagethatprivilegedminimalistemotionalexpressionover
extreme,melodramaticdisplaysoffeeling.InRostand’s1890playLesdeuxPierrotsoule
souperblanc[ThetwoPierrotsorthesupperinwhite](arevisionofhis1889Pierrotqui
pleureetPierrotquirit[PierrotwhoweepsandPierrotwholaughs])inwhichthePierrot
charactersspeakinverse,twoPierrots—onehappyandonesad—viefortheaffections
ofColombina.24PierrotTwo(sadPierrot)weepseffusivelythroughoutthepiece;
Colombinadescribeshiseyesas“streaming”(3)priortohisentrance,andmuchofthe
dialoguethatensuesbetweenthethreecharactersconcernsthesephysicalsignifiersof
24TheEnglishtranslationthatIuseinthissectionisThomChristoph’s2007translationofLesdeuxPierrotsoulesouperblanc[ThetwoPierrotsorthesupperinwhite].
98
emotion.Significantly,PierrotOneexpressesskepticismoverthesincerityofPierrot
Two’sexpressedfeelingsinlanguagethatconnectsthelatter’semotionstotheatrical
performance:“Whilehe,withtremblingvoiceandstagytricks,/Emotes”(17);“Must
youalwaysgiveyourhearts/Tothosewhoweep?Tofraudswhoplaytheirparts/Like
sorryplayers,actingoutdejection…”(31).The“tremblingvoice”herecouldbe
interpretedasavocalequivalenttothemelodramaticposeoftheDelsartiantradition;
thatPierrotOnelinksthistechniquetorepresentationalfalsity—andfurtherlinks
representationalfalsitytothecraftofactors—revealsamistrustofgesturaldisplaysof
emotion(thegesturespopularinnineteenth‐centuryFrenchmime)thatrunsthrough
thepiece.PierrotOnefurtherquestionsthereliabilityofexternalemotionalgesturesin
renderinganaccuratedepictionofthebody’sinterior:“Who’dguess,/Toseeme,that
mystomach’shollowness/Createsmylaughter’sresonatingspace?/Who’dguessfrom
hisunhappy,lividface/Thathe’swell‐fed?”(19).Again,outwarddisplaysofemotion
cannotbetrustedtoaccuratelyrevealinnerstates.Theexceptionappearsattheendof
theplayintheformofminimalism,whenPierrotOneshedsasingletear,convincing
Colombinaofhissincerity:
COLOMBINA
But—you’reweeping!
PIERROTONE
I,weeping?Nonsense!
(Thensuddenly,simply:)
99
Well,then…yes,Iam.(32)
PierrotOne’sdisplayofemotionissosubtleandsoinvoluntary(alinktoautomatisme)
thathedoesnotrealizeheisweepinguntilitispointedouttohimbyanexternal
observer.Thestagedirection“simply”furtherpointstoaminimaliststyleofrendering
emotionlegibletotheaudience,andColombinatruststhissimple,minimalgestureof
griefoverthemoreelaborategesturesofPierrotTwo:“Ah!Deareristhissingletear
you’vebroughtme‐/Moredeeplyhasitmovedme,thissmalltear‐/Thanallhisnoisy
sobbing”(33);sheholdsPierrotOne’s“furtivetear”inhigherregardthanPierrotTwo’s
“endlessstreams”of“tooprodigioustears”(34).ColombinachoosesPierrotOneover
PierrotTwobecauseoftheminimalistqualityofhisemotionaldisplaywhich,assimple,
subtleandinvoluntary,tieshisemotionstoautomatisme,therebygivinganauthenticity
totheseexternalsignifiersofhisinternalemotions.
MembersoftheCerclealsoadvocatedaminimalistgesturestyleasaresponse
toWagner’stheoriesofthemusicaldramaandtheleitmotif,whichgaveamusical
themetospecifictheatricalelementsincludingindividualcharacters.Inan1892
interviewconductedbyHugounet,CerclememberLarcherdiscussedhisdesireto
transfergesturalexpressivityfromthemimeperformertomusicalinstruments:
Supprimerlesgestesconventionnelsetinintelligiblesdel’ancienne
pantomimeetpourcelaavoirrecoursàdescomédiens,exigerune
adaptationconstanteetétroitedelaphrasemusicaleàlasituation
scénique,mettrelaparoledugestedansl’orchestre,c’est‐à‐direenfinde
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compte,appliquertoutsimplementàlapantomimelesthéoriesles
meilleuresdeWagner,ilmesemblequeceladevaitproduirepourun
publicrestreintmaisdechoixunspectacledesplusintéressants.
[Suppresstheconventionalandunintelligiblegesturesoftheolder
pantomimeandforthistohaverecoursetoactors,todemandaconstant
andcloseadaptationofthemusicalphrasetothetheatricalsituation,to
putthespeechofgestureintotheorchestra,whichisultimatelytosay,to
simplyapplytothepantomimethebesttheoriesofWagner,itseemsto
methatthiswouldproduceforalimitedaudiencethemostinteresting
choiceofperformances.](qtd.inBonnet10,emphasisadded)
Larcher’sdescriptionofthegesturalstyleoftheoldpantomimeas“unintelligible”
privilegestheintellectasinterpreterofgesture;hisimpliedcritiqueisthattheoldstyle
ofgestureisover‐emotional,tiedtothebodyratherthantheintellect.Hisdesire“toput
theutteranceofthegestureintotheorchestra”leavesonewonderingwhatwasleftfor
themimetoperform—doesthemimenowfollowthemusic,whichiswheregestural
utteranceisfound?
Inthemusicalscoresthataccompanymanypantomimesinthisera,inwhichthe
textfromthewrittenpantomimeappearsaboveeachlineofmusic,musicappearsto
emphasizeorunderscorebothemotionandcertainphysicalgestures.InVidal’smusical
scoreforPierrotassassindesafemme[Pierrotassassinofhiswife](1888),forexample,
themusicappearstoemphasizethedescribedemotionof“horror”whenPierrot“prend
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unbouteillederhum,laregarde,imploreenvainColombineetboitavechorreur”[takes
abottleofrum,looksatit,imploresColombineinvainanddrinkswithhorror](68‐9).
Where“boitavechorreur”iswrittenabovethemusicalline,themusicbecomes
pianissimo(veryquiet)andsuddenlycontainsquickrepetitivenotes,diminishingover
eightmeasuresduringwhichthereisnowrittenpantomimetext;duringtheseeight
measurestheperformerplayingPierrotwouldpresumablyperformhorrortothe
accompanimentoftheevocativemusic.Thestyleofhisgesturalrepresentationof
“horror”cannotbededuced,onlythattheexpressionissimultaneouslyfoundinthe
accompanyingmusic.Physicalmovement,however,doesappeartobedictatedinparts
bythemusic,asatthebeginningofthepantomimewhenPierrotandtheundertaker
tip‐toeintotheroom:“PierrotetleCroque‐Mortentrenttitubants,flageolants,une‐
deux,une‐deux”[Pierrotandtheundertakerenterstaggering,weak,one‐two,one‐two]
(7).Herethephysicalactionofthefootstepsarerepresentedtextuallyby“une‐deux,
une‐deux”,whichiswrittenabovefourcorrespondingchordsofmusic.Theperformers
wouldthereforehavehadtotimetheirfootmovementstothemusicalchords.Soon
afterwardsPierrotopenshiseyesoneatatimeandseestheportraitofColombine:
“Pierrotouvreunœil,l'autre,lesdeux,regarde”[Pierrotopensoneeye,theother,both,
helooks](8);thistextispositionedexactlyabovespecificmusicalbeatsandsoonce
againtheperformer’sbodywouldlikelyhavebeenchoreographedtospecificmusical
beats.Hismomentofseeingtheportrait,whichwouldhaverequiredagesturalshift,is
specificallytimedtoashiftinthemusic:“Ah!là!vois!”[Ah!There!See!](9).
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InThomé’smusicalscoreforNajac’sBarbe‐Bleuette[BlueBeard](1890),the
musicsimilarlybothunderscoresmovementanddictatesit.Theformerisevidencedin
suchsectionsaswhenPierrot“faitdomino”[falls]accompaniedbydescendingsixteenth
notesplayedacrossfourmeasures(14),andwhen“iltrembledetoussesmembres"[he
tremblesinallofhislimbs]alongsidemusicplayedsimultaneously“piano”[quietly],
“agitato”[agitated]and“staccato”.Thelatter—musicdictatingmovement—appearsas
Pierrotapproachestheominouscabinetinhisnewwife’shouseandopensit:“Undeux,
trois,quatre,dansl’armoire.Oh!"[Onetwo,three,four,inthecabinet.Oh!]
accompaniedbyfourbasenotesascendingduring“Undeux,trois,quatre”,four
staccatonotesascendingduring“dansl’armoire”(presumablythisindicatesPierrot’s
frightenedhesitationbeforeopeningthecabinet),followedbyachordon“Oh!”ashe
opensthecabinetdoor(23).AsinPierrotassassin,themusicalscoreindicatesthatat
timestheperformerhadtomovehisbodywiththesamerhythmasthemusic,alinking
oftheperformer’sbodywithamusicalinstrument.
Itisinthepopularcomédiesenmusiqueandopéras‐comiques—thespecifically‐
musicalpantomimes—oftheera,however,thattracesofashiftofgesturalexpressivity
fromperformer’sbodytomusicalinstrumentcanbediscerned.Inthe1899publication
ofacomédieenmusiqueversionofRostand’sPierrotquipleureetPierrotquirit[Pierrot
whocriesandPierrotwholaughs],composerHubertwritesmanyofthemusical
dynamicsinemotionallanguage.Heinstructstheviolatoplay“Allegretto,avecune
expressionsouffreteuse”[Allegretto(moderatelyquicktempo),withasicklyexpression]
103
(30),“avecuneexpressionexagérédetristessedésolée”[withanexaggerated
expressionofapologeticsadness](31);theviolinsaretoplay“Maestoso–Mouvtde
marchelenteetpompeuse"[Maestoso(stately)–Aslowandpompousmarching
movement](76)and"Trèstranquille"[Verycalmly](136).AsPierrotTwolamentsthe
misfortuneoflife,theinstrumentsareinstructedtoplay"thèmedelachansontriste,en
chargeantl'expressiontragique"[themeofthesadsong,emphasizingthetragic
expression](133).Emotionalinstructionsfortheperformersconsistentlytargetthe
body’smusicalinstrument,thevoice.PierrotTwosingsofhissadnesswith"unevoix
dolente"[adolefulvoice](109).PierrotOnesingsofhisjoy"gaiementetavec
désinvolture"[gailyandflippantly](118);thecomposertieshisemotionalexpressivityto
thatofhiscounterpartusingthevoice:PierrotOne’semotionistobeconveyed"en
contrefaisantlavoixdePierrotII"[byimitatingthevoiceofPierrotTwo](117).
ColombineinstructstheaudiencetolistentothesadsingingofPierrotTwo,focusingon
themusicalelementsofthepantomime—thevoiceandthemelody—asemotionally
expressive,ratherthanthestoryorphysicalexpressions:"Pierrotquipleure,enbas
chante.../Vousl'entendez!/Lamélodieesttrèslarmoyante..."[Pierrotwhoweeps,
inalowvoice…/Youhearhim!/Themelodyisverytearful…](34).HerePierrot’s
emotionalexpressionofweepingisconveyedthroughhisvoice(“inalowvoice”);the
audiencedoesnotseetheemotion,buthearsit.Themelodyconveystheemotion,not
agestureorapose.Emotionalexpressivityhasshiftedfromthemovementsofthe
physicalbodytotheauralformofmusic,ashiftthatprefiguredthemechanisticmime
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practicesoftheearly‐twentiethcentury,inwhichthelinkingoftheperformer’sbody
withamusicalinstrumentwastakenupbyearlytwentieth‐centurymovement
practitionerssuchasÉmileJacques‐Dalcroze,whosesystemofeurhythmics—andits
effectonthemimepedagogyofJacquesCopeau—IdiscussinChapter3.
Minimalismalsopervadedlatenineteenth‐centurypoetryaboutPierrot,which
tendedtoportrayhimasadispassionate,pessimisticphilosopher,furthershifting
emotionfromthebodytotheintellect.JulesLaforguetookthistendencytoitsextreme
inhisComplaintes,adoptinganattitudethatinfluencedmultipleotherwritersofthe
time.LaforgueidentifiedhimselfwithPierrot,writingofhisownartistictrialsthrough
thefigure.InalettertohissisterwritteninMay1883,Laforguedescribeshisnew
writingstylethatsoundsstrikinglysimilartothelate‐centurymimestyleexpoundedby
theCercleFunambulesqueandWague:
Ifinditstupidtointoneinanoracularvoiceandtopostureeloquently.
Thesedays,beingontheonehandmoreskeptical,lesseasilycarried
away,andontheotherhandpossessingmylanguageinamoreminute,
clownesquefashion,Iwritewhimsicallittlepoems,havingonlyoneaim:
tobeoriginalatanyprice.(20,qtd.inStorey,Mask146,emphasisadded)
Laforgue’sassociationof“minute”with“clownesque”istellingatatimewhenthe
fashionforgesturalstyleinmimewastowardsincreasingminimalism.This“minute,
clownesquefashion”takesonagenderedtoneinhispoem“AutrecomplaintedeLord
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Pierrot”[AnotherlamentofLordPierrot],inwhichLaforgueconfrontshisphilosopher‐
herowithWomanwhoistheslaveofIllusion:
CellequidoitmemettreaucourantdelaFemme!
Nousluidironsd’abord,demonairlemoinsfroid:
“Lasommedesanglesd’untriangle,chèreâme,
“Estégaleàdeuxdroits.”
Etsicecriluipart:“DieudeDieu!quejet’aime!”
—“Dieureconnaîtralessiens.”Oupiquéeauvif:
—“Mesclaviersontducœur,tuserasmonseulthème.”
Moi:“Toutestrelatif.”
Detoussesyeux,alors!sesentanttropbanale:
“Ah!tunem’aimespas;tantd’autressontjaloux!”
Etmoi,d’unœilquiversl’Inconscients‐emballe:
“Merci,pasmal;etvous?”
[ShewhomustputmeintouchwithWoman!
Wesaytoherfirst,withtheleastcoldair:
“Thesumoftheanglesofatriangle,dearsoul,
“Isequaltotwosquares.”
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Andifshecries,“OhGod!Idoloveyou!”
—“Godlooksafterhisown.”Orpiercedtothebone:
—Mykeyboardhasaheart,youaremyonlycare,
I:“Allisrelative.”
Inhereyes,alas!shefeelstoobanal:
“Ah!youdon’tloveme;andsoothersarejealous!”
AndI,withaneyetowardtheUnconscious:
“Thanks,notbad;andyou?”](132)
Pierrot’sencounterherewithWomanpitshisimpassiveimmobility,astheprotectorof
Reason,againstthetemptationsofIllusionwhichLaforgueheredepictsasextreme
emotionality.InPierrot’sresponsestoWoman’simpassionedpleas,onecandiscern
tracesofthedispassionate,stone‐facedPierrotperformedbyDeburaufilsand
increasinglypopularamonglate‐centurymimes.
ThefemininewasnotonlyarepresentativeofunbridledemotioninLaforgue’s
writings;his1885volumeL’imitationdeNotre‐Damelalune[TheimitationofOurLady
themoon]—whosecenterpieceisaseriesofpoemsaboutPierrot—LaLuneisafigureof
sterility.Pierrothadbeenassociatedwiththemoonsincethebeginningofthecentury,
anassociationemphasizedinsentimental,dreamyportrayalssuchasLegrand’s.
Laforgueexploredthephilosophicalimplicationsofthisconnection;inhispoems
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(includingtheaptlynamed“Laluneeststérile”)themoonisbarren.Pierrothimself
becomesidentifiedwiththisfrozen,barrenmoon,becomingnothingmorethana
statue,amanofmarble:
Jenesuisqu’unviveurlunaire
Quifaitdesrondsdanslesbasins,
Etcela,sansautredessein
Quedevenirunlégendaire…
[Iambutalunarbeing
Whomovesaboutinthedepths
Andthere,withnootherpurpose
Thantobecomealegend…](12)
IdentifyingPierrotwiththemoon,whosereflectedlightlacksthesubstantiabilityof
activeexistence,makesofPierrotafigureofshadow,ofquestionableexistence—a
corporealfadingthathadbeenpredictedbyThéophileGautierinhismid‐centuryreview
ofLegrand:“Thispale,gauntcreature,ghostly(famélique[starving])…”(qtd.inJones
79).Languageofsterility,furthermore,connectsPierrottolatenineteenth‐century
hystericalsterility,whichpositionedthemainlyupper‐classwhitewomensufferingfrom
thedisorderagainstnon‐whitewomen’ssupposedover‐fertility.Thisracialdiscourse
simultaneouslydistancedthe“civilized”whitewomanfromtheanimality(expressed
throughpurportedlyheightenedsexualandreproductivecharacteristics)ofthenon‐
white,poororimmigrantwoman,andaccusedtheformerofendangeringtherace.This
108
fearofsterilityintersectswithwhatLauraBriggscalls“overcivilization”,afinalcategory
tobeaddedtoEdwardTylor’ssocialevolutionarystagesof“savage”to“barbarian”to
“civilized”(Briggs248).Thefigureofthelatenineteenth‐centuryPierrottherefore
becomesbothastand‐inforamodernselfexpressedthroughthebody’ssubtleand
“natural”movements,andsimultaneouslyanempty,corporeally‐vaguebodywitha
plaster‐whitefacethatembodiesthethreatenedsurvivalofthewhiterace.
Contaminationanxieties
SterilityandtheshrinkingofthebodyinbothliterarydepictionsofPierrotand
theminimalistmimetechniqueconnectedwithWagueareparticularlysignificant
alongsidethelatenineteenth‐centuryfascinationwiththeautomatonthataffected
mimestylessuchasthosepracticedbytheHanlon‐Lees.Ifthesetechniquesweremeant
tomoreauthenticallyexpressemotions,whywasthebodysodistancedfromsignifiers
oftheorganic(fluidmovements,fullvisibilityofthebody)?Oneanswer,asI’ve
suggestedabove,liesinthelatenineteenth‐centuryFrenchmime’sbodyas
performativesiteofcontaminationanxieties,anxietiestiedtoracial,classandgender‐
inflecteddiscoursesofanimality.Theseanxietiescanbediscernedinpantomimesofthe
erainwhichPierrot’sbodyissimultaneouslymechanicalandgrotesque(corporeally‐
overflowing).AnxietyandambivalenceoverPierrot’sstatusasfantoche[puppet],for
example,runsthroughoutPierrotassassindesafemme[Pierrotassassinofhiswife]
(1888).Inthepantomime’sopeningstagedirections,MarguerittedescribesPierrotas
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havingaforeheadenlargedbyawhiteheadband:Pierrotinhistypicalaspectof
“overcivilization.”ThePierrotofthispieceispainstakinglysetapartfromahumanbody
ofgrossmateriality—thatbodyisrepresentedbytheundertaker’smanwhodrags
PierrotinfromthefuneralofPierrot’swifeColumbine:theundertakerandPierrotare
describedusingcorporealandraciallanguage,respectivelyas“legrosvivantetle
spectral…noir,blanc”[thecourselivingbeingandthespecter…black,white](5).The
linebetweenlivingbodiesanddeadobjectsisthinandporous:thecrimsonbedseems
tobreatheandColumbine—Pierrot’smurderedwife—seemstolaughwithinthe
cadenceofthemusic(anexampleofplacingthe“utteranceofthegestureintothe
orchestra”).AfterPierrothasbeenleftaloneonstagetoconfesshiscrimetothe
audience—whichheaccomplishesthroughareenactmentofhowhetickledColumbine
todeathasshelayintheirbed—thebeditselfawakensanditscurtainsappeartoburst
intoflame.Columbine’shangingportraitcomestolife,aportraitthathasalwaysheld
moreofthefleshthanPierrot’sownalabasterbody,herimagedescribedatthe
beginningas“toutenchair,lesseinsnus,ritàbellesdents,vivante”[completelyinher
flesh,herbreastsbare,laughingwithbeautifulteeth,alive](5).Thegendered
associationwithColombine’sbodywithfleshissignificant:hernakedbodyisboth
terrifyingandorganic(“vivante”[alive]),indicatingambivalencetowardthe“natural”,
livingbody.WhentheterrifiedPierrottouchestheportrait—nolongerdistinguishable
fromthebodyofColumbineherself—hedies,theorganictouchresultinginhisbody
fullylosingitsorganicstatus,becomingentirelyacorpse.
110
MargueritteconsistentlypresentsPierrotasfarlessgrosslymaterialthanthe
dead‐yet‐aliveobjectsintheroom.APierrot‐cerveau‐type(todrawonHugounet’s
terminology)withanenlargedwhiteforehead,hismovementsaremarkedby
mechanicalrigidity,hisphysicalbodybythetrappingsoftheautomaton:alabasterskin,
lipsofplaster,aninclinationtowardsconvulsive,maniacallaughter,theclonicspasmof
hisclownisme.Heisdescribedas“déjàmort”[alreadydead](10)beforehetouchesthe
portrait;thetouchturnsawalkingcorpseintoafallenone.Yetthelanguage
MargueritteusestodescribePierrotoverflowswithbodilymaterialreferences.His
Pierrotisawalkingcorpse,aplasterexteriorencasingavoid.Agrosslymaterialinterior
announcesitsexistenceandcontinuallythreatenstoerupt.Hisbodyelicitsanxietyover
thiseruptionofaninteriorcorpulentexcessassociatednotwiththemechanical,
puppet‐likecerveau,butwithhiscounterpointPierrot‐ventre.
MarguerittedescribesPierrot’sconfessionasavomiting,ofinteriorbodilyexcess
eruptingthroughagapinghole:whenPierrotisleftaloneonstagetoconfrontthe
audienceheopenshismouthrepeatedly,theconfessionthatliesinsidewaitingtoburst
forthisdescribedascoming“àseslèvres”[tohislips](6);afterseveralhesitations“ses
lèvrestremblentetalorsuneforceinvinciblearrachedePierrotlesecretmontéàsa
bouche”[hislipstrembleandsoonaninvincibleforcewrenchesfromPierrotthesecret
risingtohismouth](6).Whentheportraitbeginstomakeitspresenceknown,Pierrot
mimeshisfearbyusinghishandtoindicateaninterioracceleratingheartbeat.Hiseye
gleamsoutfromitssocket:“hagard,terrifié,luit”[haggard,terrified,(it)gleams](8).The
111
descriptionoftheeye’s“gleam”standsinstarkcontrasttothedark,emptyeyesockets
popularamongcontemporaneousmimeperformerssuchastheHanlon‐Lees,and
announcescorporealitytothespectralform.Whenhemimesthedeath‐throesof
Columbine,hisbodybecominghersinatransgressionofcleanly‐demarcatedperformed
identity(andasignificantblurringofgenderedbodies),histhroesaredescribedin
languageofillnessinvadingthebody’sinterior:“unmalcontagieuxetvengeur"[a
contagiousandvengefuldisease](9).
AnxietyoverthenaturalintersectswithracialanxietyinDesnoyers’s1856
pantomimeLebrasnoir[Theblackarm].Theblackarmofthetitlebelongstothe
villainousmoorScapin,withwhomPierrothasaviolentfightinwhicheachpullsoffone
oftheother’sarmsandproceedstobeattheotherwithit.Pierrotmanagestobeat
ScapintodeathwithScapin’sownarm,thenvisitsadoctortohavehisarmputbackon.
Butthedoctorreattachesthewrongarm—withthebodilyfluidsalivahesticksScapin’s
blackarmontothewhitebodyofPierrot.TheevilblackarmleadspurewhitePierrot
intoaseriesofcrimesthatlandhiminprison;whenheattemptstoescapethejailor
grabshisblackarmanditcomesoff.AsPierrotflees,anenormousblackarmrisesup
fromthegroundbeforehim,aracially‐chargedimageevocativelyrenderedbyGustave
Courbetin1856topublicizethepantomime(Figure2).Pierrot,terrified,turnstostone
(6).JustasthePierrot‐cerveauasdescribedbyHugounetescapesthechargeofdirtyand
naturalistthroughhispuppet‐likemovements,sothePierrotofLebrasnoirescapes
defilementthroughexteriorrigidity,turningtostone.Whenthreatenedbythearmthat
112
representsblackdefilementofwhitepurity,Pierrotretainshispuritybyceasingtobean
organicbody.Purityleadstosterility.
Figure2:Lebrasnoir25
YetthefrozenbodyofPierrothasbeenhybrid—hisbodyremainsfacingthelimb
thatwasonlyrecentlyattachedtoit.Racialhybriditywasacontentiousissueinlate
nineteenth‐centuryanthropologystrugglingtoabsorbtheDarwinianimpactofthe
descentofmanfromanimals.InTheExpressionoftheEmotionsinManandAnimals
(1872)Darwinhadcategorizedhumanemotionsasmentalstatesconnectedspecifically
toneurologicalfunctionsandphysicalexpressionsthatcouldalsobeobservedin
animals,blurringthehuman/animaldistinction:
Withmankindsomeexpressions,suchasthebristlingofthehairunder
theinfluenceofextremeterror,ortheuncoveringoftheteethunderthat
25DrawingbyGustaveCourbetin1856topublicizethepremiereofDesnoyers’spantomimeattheThéâtredesFolies‐Nouvelles.
113
offuriousrage,canhardlybeunderstood,exceptofthebeliefthatman
onceexistedinamuchlowerandanimal‐likecondition.(12)
Asthedemarcationsbetweenhumanandanimalbecamemoretenuous,sotoodidthe
clearlinesbetweenhumanraces,producingsterilewhitebodiesbothcelebrated
(Pierrot’sdefilementcannotcontinueoncehehasfrozen)andfeared(thebodycanno
longerreproduce,threateningthesurvivalofthewhiterace).ThatPierrot’sfrozen,
sterilebodyexperiencedracialhybridityperformativelytheorizesthiscomplexsocietal
anxiety,theconflictingandcontradictoryrelationshiptocontaminationofthewhite
Frenchartists,criticsandaudiencesoflatenineteenth‐centuryFrenchmime.
Inthelatenineteenthcentury,nostalgiafortheearly‐century“popularPierrot”
positionedthisfigureasonewhoconnecteddirectlywithlepeuple.26Writersdescribed
thisfigureasexemplifyinglabêtise—ahighlyambiguousterm,oftentranslatedas
“foolishness”butwhoseassociationswithanimalitycannotbeignored,whichappeared
26Rémyattributesthisnostalgiaforthe“popularPierrot”oftheearlynineteenthcenturytoamyth‐makingthatidentifiestheromanticizedobjectwithageneralizedraucousjoyofthehappyworking‐classcrowd:
LalégendedelafoireperpétuellequisetientsurleboulevardduTemple,avecsescrisdejoie,sonambianceinsoucieuse,lafoulebéatedevantletapisdesacrobates,laliessedesfêtesetducarnaval,lesdescriptionsbrosséesdemaindemaître,lesfresquesbrillammentcolorées,n’existentquedansl’imaginationdeschroniqueursdelafinduXIXesièclequiparlentducommencementdu‐ditsièclecommeaujourd’huionraconte1900etlaBelleÉpoque.[ThelegendoftheperpetualfairontheBoulevardduTemple,withitscriesofjoy,itscarelessambiance,theblissfulcrowdstandingbeforetheacrobats’mats,thejubilationofthefestivitiesandofthecarnival,themasterfully‐painteddescriptions,thebrilliantly‐coloredfrescoes,donotexistexceptintheimaginationsofthechroniclersoftheendofthenineteenthcenturywhospeakofthebeginningofthatcenturyastodayoneremembers1900andtheBelleÉpoque.](Deburau68)
114
frequentlythroughoutthecenturyinreferencetofoolfiguresofclownsandmimes.La
bêtiseisapotenttermandneedsabitofunpackinginitsrelationshiptoeighteenth‐
andnineteenth‐centurydiscoursesonanimalityandthehuman‐animaldivide.Inthe
eighteenthcenturyRenéDescartes’sdoctrineofthe“bêtemachine”hadposedthe
questionofwhetheranimals,iftheyweretruly“machines,”hadsouls.Thequestion
cametomean“notthatanimalswerepureautomatadevoidofsensationandself‐
awareness,butratherthatthevariousmanifestationsofconsciousness,instinct,
sensibility,andevenintelligence,allofwhichseemedempiricallytotypifyanimal
behavior,oughttobeexplainedexclusivelyintermsoftheorganicmachine"(Vartanian
58).Despitetheapparentsimilaritiesbetweenthisdoctrineandthatofl’homme
machine[manasmachine]thatJuliendelaMettrie(1748)latertookup,onekey
differenceremainedbetweenl’homme[man]andlabête[beast]:unlikeanimals,
humanshadrationalsouls.
Yetinthedebatebetweenmechanisticandvitalistactingtheoriesthattypified
thelateeighteenthandearlynineteenthcenturies,labêteheldtheadvantagewithin
thelattercampofamoredirectlinktothepassions.Laterinthenineteenthcentury
GeorgeHenryLewesplacedexpressivityatthecenteroftheartofactinginOnActors
andtheArtofActing(1875).Hebelievedthatgreatactorshadan“animal”physiology,
“animalism,”aphysicalfluiditythatallowedtheorganicexpressionofthepassions
(Roach184).Thereturnofthelanguageofanimalisminlatenineteenth‐century
pantomimepointsinparttoareactionagainstthefixed,rigidmimestyleassociated
115
withlatenineteenth‐centuryPierrotperformances,astylethatwasenjoyingpopularity
notonlyonthepantomimestagebutalsoinsuchtraditionsasthetableauvivant.
Janet’stheoryofautomatisme—whichprefiguredFreud’stheoryoftheunconscious—
cleavedtheselfintotheselfofconsciousawarenessandthemore“authentic”self—
tiedtonon‐rational,instinctiveforces—thatresidesinthespaceofthesubconscious.In
theirpursuitofgesturalhonesty,ofamimetechniquethatsignifiedaninnerstate,
mimetheoristswhocalledforareturntoaPierrotdrivenby“instinct”weretherefore
drawingonthelatenineteenth‐centuryunderstandingofthe“authentic”selfsituatedin
thesubconscious,definedasthespaceofnon‐rationalandinstinctiveforces,and
therebysupportinganideaoftheactor’s“animalism.”WhenLeweshadadvocatedfor
the“weightyanimalism”ofthegreatactor,hehadspecifiedafluidityofthoughtand
movement:“afluidinterdependenceofbodyandmind,muscleandimagination,
includingaphysiquefreefrommusculartension,rigidity,andsuperfluityofmotion…”
(Roach184).Similarly,nineteenth‐centuryideasofsincerityderiveinpartfromJean‐
JacquesRousseau’sassertion,expressedinhisSecondDiscourse,thatthesavageismore
sincerebecauseofhisfundamentalconnectiontohimselfratherthantosociety:"The
savageliveswithinhimself,thesociablemanknowshowtoliveonlyintheopinionof
others,anditis,sotospeak,fromtheirjudgementalonethathedrawsthesentimentof
hisownbeing"(qtd.inTrilling62).
DecriersofthefindesièclePierrotsawinthissentimentalfigureanattenuation
oftherobust,livelyPierrotofDeburau’stime.Deburau’s“popularPierrot”was
116
describednostalgicallyasanaïve,childlikefigurewhoactsoutofinstinct.Thisideaof
instinctstraddlesbothromanticnostalgiaandfearofanimality,forthisfigureisboth
innocentandmurderous,asportrayedinalongarticleannouncingthepremiereofhis
1896pantomimeChandd’habits![Clothesmerchant],performedbySéverin,inwhich
poetandnovelistCatulleMendèscalledforareturnofthe“popularPierrot”:
Wepoetshavebeenwrong…BecausePierrotisaswhiteasLeda’sswan,
becausePierrotiswhitelikethemelancholypallorofthemoon…we
haveturnedintoapoetic,subtleandalsoperverseGillesinthestyleof
Watteau,thepopularPierrot,theformermiller’sapprenticewhocould
notcarelessaboutrhymesandwho,ingenuouslyandbrutally,with
puerileinstinctservedbyvirileforces,ignorantofthecomplexitiesof
refinedsouls,rushesheadlong,withoutpremeditationaswithout
remorse,withoutscienceandwithoutconscience,towardsevery
satisfaction,throughcrimeifneedbe,whojinglesinhisblood‐stained
handsthecoinsofthepursehestole,happyathisgoodluck,withthe
funnyfaceofacatwhohasstolemilk!Orelse,hewilllie,afterthe
murder,inthebedofthewomanhehasmadeintoawidow—because
thatwaswhatittooktogetthere—caressingherwithchildishly
murderoushands,notmorerestlessthaniftheyhadbeencrushing
strawberries!ForheisInstinctthatwantsanddoesnotknow.(240‐1,
qtd.inJones202‐3)
117
Thedescriptionofthis“popularPierrot”asachild(“childishlymurderoushands”)isno
accident.WritersfromtheearlypartofthecenturywhohadmadeDeburaufamous—
andwhohadcreatedtheDeburau‐PierrotmythfromwhichMendèsdraws—had
consistentlyreferredtotheworkingclassaudiencememberswhofrequentedthe
ThéâtredesFunambulesaschildren.Thisterminologyfunctionedinparttopositionthe
writersasflâneurs,literatiwithsophisticatedtasteswhowerealwaysatoneremove
fromtheartistsandaudiencesaboutwhomtheywrote.Italsofunctionedto
romanticizethefigureofthechild(connectedtotheworkingclassaudience),whofor
writersoftheerawastheemblemofpurity,thefigurebestpositionedtogainthemost
directknowledgethroughexperienceunmediatedbyexcessivethought.Ifthischild
engagedincrime(“whojinglesinhisblood‐stainedhandsthecoinsofthepursehe
stole,happyathisgoodluck…”)heisredeemedbyvirtueofhisinnocence:an
“uncomprehending”mindcannotactoutofmalice.
Mendès’suseof“Instinct”inthepassageabovesimilarlydrawsfromthe
Romanticconceptofthechildasemblematicofinnocenceandpurity,whohas
unfetteredaccesstointerioremotion(againbecausehisaccessisunmediatedby
excessivecerebralactivity),andlinksthisfigurewiththenineteenth‐centuryideaofthe
non‐rational,andthroughthistotheideaoftheanimal.WhenDeburaubegantodraw
attentionfromcriticsin1832,criticsconsideredpantomime—sinceitwasbasednoton
languagebutongesture—asamoreprimaryexpressivemediuminwhichonecouldnot
lie;BernadindeSaint‐Pierredescribeditas“thefirstlanguageofmankind”(qtd.in
118
Jones65).Whenlatenineteenth‐centurypractitionersandcriticssuchasMargueritte
yearnedforthereturnofapopular,naturalPierrot,then,thefiguretheycreated—and
themimestyletheyadoptedinpursuitofthesequalities—wasnotthatofPierrot‐ventre
who,asperformedbyKalpestri,wasavestigeofstreetperformancefromthebeginning
ofthecentury,andviewedasdegradingtheincreasinglyeliteandliteraryartofthe
mime.Rather,theypursuedaPierrotconnectedtoRomanticidealsofinnocence,
natureandthechild.
Theretrospectiverevaluingofthis“natural”figurecanbefoundintextsaslate
asRémy’s1945LesClownsinhisdiscussiononthecircusclownduetheWhiteClown
andtheAuguste.ThecircusclownpairtheWhiteClownandtheAugustecouldbeseen
asspeakingexamplesofthesilentPierrot‐cerveau/Pierrot‐ventretypes.TheWhite
Clownwasawhitefacefigurewhohadanauthoritativeandoftencruelair;theAuguste
wasalow‐statusbuffoonwho,despiteattemptstolook“gentlemanly”inpoorly‐
tailoredcoatandtails,wastoodrunkandtoostupidtobeanythingbutthebuttofthe
WhiteClown’sjokes.Rémyarguesthatthetwotypeswereinfactequals:
Lebeaudialogueduclownblancetdel’augustenemetpasauxprisesle
supérieuretl’inférieur,lebourreauetsavictime,l’exploitantet
l’exploité.Lesdeuxpartenairessontsurunpiedd’égalité.Ilssontdeux
forceségales,deuxprincipesaussipositivesl’unquel’autre.Le“blanc”
n’estpasplussupérieuràl’augustequelapenséenel’estàl’action,oula
sérénitéàl’émotion.
119
[ThelovelyinteractionoftheWhiteClownandtheAugustedoesnot
placetheminpositionsofsuperiorandinferior,theexecutionerandhis
victim,exploiterandexploited.Thetwopartnersareonequalfooting.
Theyaretwoequalforces,twoprinciplefigureseachasgoodasthe
other.The“White”isnomoresuperiortotheAugustethanthoughtisto
action,orserenitytoemotion.](ClownsXVI)
ByequatingtheWhiteClownwiththemind(thought,serenity)andtheAugustewith
thebody(action,emotion),Rémytapsintothelatenineteenth‐centuryFrenchacting
mechanist/vitalistdebatethatrevolvedaroundsuchconceptsasdispassionandsang‐
froidontheonehand,andpassion,instinctandlabêtiseontheother.Hisclaimthatthe
twowereinfactequals,alongsidelatenineteenth‐centuryFrenchmimeartists’
celebrationofDeburau’sbêtism,advocatingbotha“natural”,organicmimestylewhile
simultaneouslyputtingforthaminimalist,mechanisticstylethatappearedtoproducea
non‐organicbody,revealsthecomplexrelationshipthatlatenineteenth‐centuryFrench
mimeartistshadtothevalueofthe“natural”body.
Inhis1881biographyDeburau:histoireduthéâtreàquatresous[Deburau:four‐
parthistoryofthetheatre],Janindeployslabêtisseinamannerthatdemarcates
appearanceandreality,allowinghimtobothcelebratethequalityanddistancethe
idealmimebodyfromit.Describingthesuperiorityoflower‐classtheatre(“l’art
ignoble”)foritsvitality(178‐181),JanincontraststheeliteParisiantheatres(“l’art
noble”)withlower‐classtheatreusingcorporeallanguage:“LeThéâtre‐Français,livide
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ethideux,étalesonsquelettetransparentàcotédel’embonpointduVaudeville…“
[TheThéâtreFrançais,paleandhideous,flauntsitsemptyskeletonnexttothe
corpulentVaudeville…](178).Thispositionstheliving,vital,corporealbodyabovethe
dispassionate,coldone,andisunderscoredbyJanin’sfrequentuseofthetermlabêtise
inreferencetoDeburau’sPierrot.InJanin’suseoftheterm,however,bêtiseisa
charmingouterfaçadethatconcealsaninnercontrolledintelligence:Deburau’sPierrot
isaloof,detached,hisbêtismadualidentitythatallowshimtobetheclumsyyetwitty
fool.InhisbiographyofDeburau,abarely‐discernibleshiftoccurs:Deburauisstill“au
niveaudetouteslesbêtisesdel’époque”[onalevelwithallthebêtisesofthetime]
(68),but,inamovethatconnectsDeburauwiththeself‐imageoftheRomanticartist,
heisbêtiseonlyontheoutside,inhisperformances;hisinteriorselfisdistanced.Inthe
samepassageinwhichhenameshimbêtise,JaninexplicitlycelebratesDeburau’ssang‐
froid:
Ilaremplacélapétulanceparlesang‐froid,l’enthousiasmeparlebon
sens;cen’estpluslePaillassequis’agitaitçàetlà,sansraisonetsansbut;
c’estunstoîcienrenforcéquiselaisseallermachinalementàtoutesles
impressionsdumoment,acteursanspassion…
[Hehasreplacedpetulancewithsang‐froid,enthusiasmwithgoodsense;
thisisnolongerthestreetclownwhoistossedhereandthere,without
reasonandwithoutpurpose;thisisastrongstoicwhoallowshimselfto
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mechanicallyexplorealltheimpressionsofthemoment,anactorwithout
passion…](68)
Janinretainsherethe“impressions”thatthebêtiseperformerexploresandconveysto
theaudience,whilealteringtheinnerexperienceofthemimefromemotionality
(“petulance”,“enthusiasm”,“passion”)todispassion,coldness,sang‐froid—hisgestures
havenobearingonhisactualinnerstate.Janinthusrefiguresbêtismasaperformance
thatonlyaffectstheexteriorofthebody;interiorityisprotectedandrelegatedtothe
objectivedistancingandneutralityofsang‐froid.Thisunderstandingofsang‐froid
permeatedlatenineteenth‐centurymimetheories,inwhichthecalm,coldandoften
sinistermindcontrolledabodythatshrankbothinscopeofmovementandinactualon‐
stagevisibilityasminimalistmimetechniquescametothefore.
Conclusion:Twentieth‐centurymimepractitionersandthenarrativeofthenineteenth
century
Energiesassociatedwiththe“natural”flowthroughthefigureofPierrotinhis
manifestationasPierrot‐ventreinhiscorporealoverflowing,hisidentificationwiththe
workingclassandhisgleefulparticipationinlabêtise—allqualitiesascribedinthelatter
partofthecenturytotheearlyPierrotofDeburau,anidealizationbasedonnostalgia
foranideaofthe“natural”linkedtochildhoodandpurity.Racial,classandgender‐
inflectedsocietalanxietiesovercontaminationwiththenatural,withanimality,find
theirexpressionintheautomaton‐likePierrot,Pierrot‐cerveau,whoasthecenturywore
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ontookonmoreandmoremechanized,spectralandsinisterfeatures,while
simultaneously—asIhaveargued—engagingingrotesqueperformancestylessuchasin
Margueritte’sPierrotassassindesafemme[Pierrotassassinofhiswife].Astheendof
thecenturyapproached,performersandcriticsalikeattemptedtoshiftPierrotbackto
anidealizedearlierversionofthe“natural”Pierrot,the“popularPierrot”ofDeburau.
Thisnostalgiaparadoxicallyexistedalongsideadisgustforthemimetechniquesofsuch
performersasKalpestriandanuneasinesswithmarkersoftheorganicintheperformed
bodyofPierrot;aparadoxicallayeringthatrevealsconflictedfeelingstowardthemesof
contaminationthatcontinuallyeruptedinlatenineteenth‐centuryFranceofthecolonial
era.ThesecontestationsproducedaperformingbodyinFrenchmimetraditionthatwas
mechanisticinitsidentificationofthebodywithautomatismeandmusicalinstruments,
expressedthroughaminimalistgesturalstyle,whilesimultaneously“natural”inits
presumedgesturalaccesstodeepemotionsandthought.
TheLecoq/Gaulierdisagreementthatopenedthischapteroverthemime’s
identificationwiththatwhichisimitatedcanbesituatedwithinthelargernarrativeof
shiftingconstructionsoftheperformer’sbodyinFrenchmime,andunderstoodasone
siteofcontestationwithinalargertraditionaroundwhatphysicalgesturedenotes
aboutinnerfeelingandself.Thiscontestationcontinuedfromthelatenineteenthand
earlytwentiethcenturiesintothe1920’sself‐conscious“renaissance”ofFrenchmime
bypractitionerssuchasJacquesCopeauandÉtienneDecroux,whosestylecaninpart
betracedtoadeliberatenarrativeofmimetheorythattheycraftedinwhichtheyself‐
123
consciouslydefinedtheirworkagainstthatofthelatenineteenthcentury.The
conventionalnarrativeoftherevivalofmimeinearlytwentieth‐centuryParisdrawsa
sharpdistinctionbetweennineteenth‐andtwentieth‐centuryFrenchmimestyles,
attributingtotheformeranartificialityandrelianceonliteralgesturaltranslationsof
spokenlanguageincontrasttothemore“natural,”“internal”styleofthelatter—a
distinctionreminiscentoflatenineteenth‐centuryFrenchmime’spractitioners’viewson
earlynineteenth‐centuryFrenchgesturalstyle.Theideaofaninteriorauthenticself
demarcatedbyafalseexterior,adislocationbetweenthemime’sinnerselfandhis
outermask,thatdevelopedinlatenineteenth‐centuryFrenchmimeinformedearly
twentieth‐centurypantomimetechniqueswhichinturninfluencedthedevelopmentof
masqueneutre[neutralmask]pedagogyandclownpedagogy’spositioningofthe
performer’sbodyassiteofauthenticity,eachofwhichistakenuprespectivelyinthe
followingchapters.
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Chapter3PuppetsandBodies:
MechanicalversusNaturalinFrenchNeutralMaskTraining
OnasunnyafternooninthethirdfloorstudioclassroomofÉcolePhilippeGaulier
ontheoutskirtsofParis,theatmosphereshiftedalmostimperceptibly.Fivestudents
stoodinthecenteroftheroomwithwhiteexpressionlessmasksintheirhands,looking
confusedlyatthegrizzledmanwhosatslumpedinachairatthecenteroftherowof
studentspectators,cradlinghisframedrumonhislap.Isatseveralchairstotheright,
browfurrowed,mypenpoisedabovemynotebookwithinwhichIhadjustjotted
multiplequestionmarks.PhilippeGaulierhadjustfinishedhisinstructionsforthat
afternoon’sneutralmaskexercise:“NeutralMaskwalksforward,seesocean—whensee
ocean,bigemotioncomesin.NeutralMaskpicksupstoneandthrowsitintoocean.
Surprise,emotion,topemotion,throw.”27
ItwastheseconddayofGaulier’sNeutralMaskworkshop,andtheconfusion
evidencedbynearlyeverystudentintheclassresultedfromGaulier’suseoftheword
“emotion.”Thepreviousday,whenwehaddonnedtheneutralmasksforthefirsttime,
Gaulierhadexplainedthepremisebehindthemaskinnouncertainterms:“Anidiot
behindaNeutralMaskismuchmoreabstract.”28“TheNeutralMaskdoesnothave
problem.Hewakesup,hestand[sic]up,hewasnotdrunkyesterday.”Thiserasureof
27QuotesfromtheNeutralMaskWorkshopatÉcolePhilippeGaulier,bothofstudentsandteacher,aretakenfrommyownwrittennotesandareoftenparaphrased.28Gaulierfrequentlyusedtheterm“idiot”torefertoaperson.Thetermwasnotmeantpejoratively,butasanaffectionatereferencetothehumanconditionasultimatelyexpressedthroughthemaskformofClown,whichwillbeexploredinmoredetailinChapter4.
125
individualpersonalityandphysicaloremotionalpastiscentraltotheNeutralMask,a
formderivedfromJacquesCopeau’suseoftheexpressionlessmasquenoble[noble
mask]asatrainingdeviceattheÉcoleduVieuxColumbierinParisinthe1920s.Bythe
seconddayoftheworkshop,studentsheldtightlytothenotionoftheNeutralMaskas
comprisinglack:lackofpersonality,ofphysicalidiosyncrasy,ofinteriority—certainlyof
emotion.SowhenGauliersaidthewords“bigemotion,”theatmosphereintheroom
thickenedwithconfusion,aconfusionthatmanifestedfortherestofthedayin
questionsposedtotheteacherthatreceivednoclearresponseandthateveningin
conversationsonthetrainbackintocentralParis.Onestudenthaddecidedtowaita
weekandaskthequestionagaininhopesofgettingacleareranswer.Othersbelieved
Gaulierhadbeenaskingforaqualityofenergyratherthanemotion.AlexfromNew
Zealandframedthelessonintermsofpsychologicalactingtechniques.“It’stheeternal
actingquestion,isn’tit,”hecommentedaswesteppedoffthetrain.“It’sthesame
questionasinStanislavski:howmuchdoyouastheactoractuallyfeeltheemotion
inside,andhowmuchdoyoujustexternallyshowit?”thussuccinctlyframingthe
classroomeventwithinthediscourseofDiderot’sparadoxoftheactor. 29Thisframing
attempt,however,revealedmoreabouttheassumptionsAlexwasbringingtothe
workshopaboutthequandariesofactingthantheissuesthatNeutralMaskpedagogy
attemptstoaddress,whichfocusonlinkinga“natural”bodyto“neutrality”,markedby
29DenisDiderot’sfamous“paradoxofacting”isthedualitybetweentheactor’spersonalityonstageandtheroleheorsheisperforming;theseminalquestionthatDiderotposesinhisLeparadoxesurlecomédien[Theparadoxoftheactor]iswhethertheactoractuallyexperiencestheemotionshe/sheisrepresentingonstage.
126
efficiencyofmovement.Throughouttheremainingthreeweeksoftheworkshop
studentsstruggledtocometogripswiththismaskformwhoseapparentlackoforganic
markers(personality,physicalidiosyncrasy,emotion)pointedtomechanization,but
whichwasbeingtaughtthroughapedagogythatforegroundedanaturalbodythathad
becomeincreasinglyvaluedinFrenchmimepracticethroughoutthetwentiethcentury.
ThischapteranalysestheNeutralMaskasitdevelopedinthetwentiethcentury
asapedagogicaltoolwithinLecoq‐derivedactortraining,focusingonthewaysinwhich
thisformaroseoutofamimepracticeengagedinattemptstodefineandarticulate
boththe“mechanized”and“natural”body.IttakesasitsdeparturepointtheNovember
2007NeutralMaskWorkshopatÉcolePhilippeGaulier,inwhichIparticipatedasboth
studentandresearcher.Mymethodology,asoutlinedintheIntroduction,weaves
betweenpractice‐basedresearchandhistoriography.Iworktounraveltheintricateand
oftencompetingapproachestoandunderstandingsofthebodythatinformedspecific
embodiedeventswithintheclassroom.Thesepracticescanbetracedbackthroughthe
developmentoftwentieth‐centuryactingtraining,particularlythatbranchofacting
trainingdevelopedbythemimepractitionersofearlytwentieth‐centuryFrance
includingJacquesCopeau,ÉtienneDecroux,Jean‐LouisBarrault,andlaterJacques
Lecoq.Thesepractitionerswereworkingwithandoftenexplicitlyagainstthemime
traditionsofthenineteenthcentury,setagainstthebackdropoftheincreasing
mechanizationofthebodyand,alongsidethis,shiftingculturalvaluesplaceduponthe
“natural”self,asdiscussedinChapter2.Bycloselyexaminingthemomentsof
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interactionbetweenaspecificteacher’spedagogyandstudentreception—particularly
momentsoffrustrationandstruggle—themultipleandoftencompetingunderstandings
ofmechanizationand“thenatural”thatinformhowbodiesactandareunderstood
withinacontemporaryNeutralMaskclassroombecomevisible,particularlythewaysin
whichthe“natural”hasbecomeincreasinglyvaluedduringthetwentiethcenturyin
actortraininggenerallyandLecoq‐basedFrenchmimetrainingspecifically,avaluing
thatwasbothreinscribedandchallengedinGaulier’sworkshopastheconstructionof
the“natural”thatinformthepedagogysimultaneouslypositionsthebodyinawaythat
studentstendedtointerpretasmechanical.IntheGaulierclassroomsectionsIfocus
particularlyonwhatItermGaulier’s“pedagogyofdisorientation,”atechniquethat
reframedthestudent/teacherrelationshipandcreatedaspacewithinwhichnew
approachestomovementandtheNeutralMaskpedagogicalapproachtothe“natural”
bodywereexplored.
Followingabriefdescriptionofmyresearchsiteandoutlineofmychapter
structuringthatbuildsonmymethodologyasdetailedinChapter1,inthischapterI
examinetheemergenceofavaluingofthe“natural”astheinteriororinnateselfin
earlytwentieth‐centuryFrenchmime.IarguethatFrenchmimeparadoxicallyretained
itsholdonthemechanicalevenasitincreasinglyvaluedtheideaofthenaturalbody,
developingapedagogycenteredaroundtheideaofbodyasmachine.Tounderstand
theemergenceofthispedagogyIbeginwithCopeau’sdevelopmentofthemasque
noble[noblemask]whichlaterbecamethemasqueneutre[neutralmask]usedby
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Lecoq.IanalyzeCopeau’scomplexrelationshiptoboththemechanicalandthenatural,
andsuggestthatCopeau’sideaofneutralityresonatedwithboth:withmechanismby
allowingtheperformerfullcontrolofhisbody,andwiththenaturalinitsemphasison
revealingamoreauthenticbodythroughstrippingawaysocializedhabitsofmovement.
IthenreturntoGaulier’sclassroomtolookathowneutralityoperateswithinthis
pedagogicalsetting,analyzingGaulier’sdeploymentofapedagogyofdisorientation,
whichincludedthepracticeofaLecoq‐basedvianegativa,inordertostripawayhabits
ofthoughtandmovementtohelpstudentsencounterthisunfamiliarembodied
practice,andhisconceptof“beauty”that,Iargue,istiedtoalossofself‐consciousness
thatCopeausoughtinhismasquenoblework.IlinkthephysicalprecisionofNeutral
Maskpedagogytoearlytwentieth‐centuryideasofthebodyasmachineandDecroux’s
developmentofCopeau’spedagogyintoamoreexplicitlymechanisticstyle,and
complicatethismechanisticapproachinGaulier’sclassroombyteasingoutlanguageof
emotionality—specificallyofthebodyrevealingauthenticemotionor“pleasure.”Ithen
analyzethewaysinwhichthebodyinGaulier’sclassroomwasprivilegedover
categoriesofcognition—specificallytextandmentalimage—inthiscommunicationof
emotion,whiletheperformerisdistancedfromthisemotionthroughthepracticeofle
jeu[theplayorthegame]whichlinksto“pleasure”andpreventsfullidentificationwith
thatbeingperformed.Iconcludebysuggestingthatmuchoftheconfusionstudents
experiencestemmedfromtheirassumedideas(andconcurrenthabitsofthoughtand
movement)ofemotionalitylinkedtothenatural,andthenaturallinkedtotheconscious
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self,astheyencounteredanapparently‐mechanical—becauselackingmarkersofpastor
personality—NeutralMaskwhoseemotionalityislocatedatadistinctremovefromthe
performer’sself.Itiethistoanideaoftheauthenticselflyingbehindthe“mask”ofthe
persona,athemethatItakeupinChapter4.
Siteandstructure
TheNeutralMaskworkshopatÉcolePhilippeGauliertookplaceinNovember
2007.ThestudentsinmysectionoftheworkshopcamefromBrazil,Spain,China,
England,theUnitedStates,Canada,Australia,NewZealand,GreeceandFrance.
Studentsweregenerallyintheirtwentiesandearlythirtiesandfromprivilegedmiddle‐
classbackgrounds(aself‐selectionofthistypeoftrainingwhichhasbothhightuition
feesanddemandsthefinancialresourcestoliveinParisduringthetraining).Most
studentshadhadpreviousactingtraining,andabouttwo‐thirdshadprofessionalacting
experience.TheworkshopwasconductedinEnglish,andstudentswhosefirstlanguage
wasEnglishtendedtobemorevocalintheclassroomthanstudentsfromBrazil,Spain
andGreecewhohadvariouslevelsofEnglishproficiency,mostlikelybecauseofthe
easeofspeakinginone’sfirstlanguage.30TheissueofGaulier’scomprehensibilityis
addressedinthischapterthroughmyanalysisofhis“pedagogyofdisorientation”which
meantthatevenfirst‐languageEnglishspeakerswerecontinuallyconfusedbyhis
30InChapter4IexamineaninstancewhenawomanfromBrazilwhohadbeenlearningEnglishovereightmonthsoftheworkshopmisunderstoodaninteractionwithGaulier,whichresultedinaderailingoftheintendedpedagogicaloutcomeoftheencounter.
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statementswhichhebothdeliveredinbrokenEnglishthatbeliedhisfluency—a
deliberatetechnique,accordingtooneofGaulier’ssonswhowasintheothersectionof
theworkshop—andthatmadehisstatementsintentionally,therefore,obtuse.
AsdiscussedinChapter2,latenineteenth‐centuryFrenchmimehadacomplex
andfraughtrelationshipwiththe“natural”body,arelationshipforgedwithindiscourses
ofracial,class‐basedandgenderedimpurities.Thisresultedinmimeperformancesthat
apparentlystrippedthebodyofitsorganicmarkers(flushedskin,breathing)througha
celebrationofacorpse‐likeappearanceofPierrotandaperformancestylelaudedas
sang‐froid[cold‐blooded],whilesimultaneouslyrevealingafascinationwiththebody’s
visceralinterior.Lecoq’sNeutralMaskpedagogyemergedoutofanearlytwentieth‐
centuryreactionwithandagainstlatenineteenth‐centuryFrenchmimetraditions,and
hasdevelopedwithinlatetwentieth‐andearlytwenty‐first‐centuryclassroomsduringa
timewhenthe“natural”bodyhasgainedincurrency.IarguethatNeutralMaskisa
practicewithacomplexandapparently‐contradictoryrelationshiptotheideologyofthe
“natural”bodyasitdevelopedintheearlytwentiethcentury:simultaneouslysteepedin
earlytwentieth‐centuryideasofthenaturalbodyasefficientandeconomicalin
movement(hallmarksofthe“neutrality”pursuedbyCopeau),yetchallengingtheidea
ofthenaturalasorganicbypositioningthebodyashavingnopastorintentionality,an
echoofthelatenineteenth‐centuryempty,automaton‐likebodyinFrenchmime
discussedinChapter2.ThestudentsinGaulier’sNeutralMaskworkshopinlate2007
werethereforeencounteringamaskformthatpromotedtheideaofthenaturalasthat
131
whichliesbeneathculturally‐imposedphysicalhabits—aconceptthatresonateswith
suchtheoriesasPeterMcLaren’s“enfleshment”/”refleshment”andAugustoBoal’s
“disjunctive”embodiedtechniques,asdiscussedinChapter1—yetthatsimultaneously
challengedideasofthenaturalbodyasonewithmarkersofitsownlivedhistory.My
centralquestionsinthischapterare:howdidstudentsengagewithamaskformthat
promotesboththenatural(bystrippingthebodyofitsenculturatedhabits)and
mechanization(bystrippingthefaceofexpressivity)?Whataretheimplicationsforhow
the“natural”isunderstoodincontemporaryFrenchmimetraining,andwhatdoesthis
meanbothforthebodiesthatencounterthistrainingandthewaysinwhichitis
deployed?
Duetothemultipleintersectionsbetweenmomentsintheclassroomandthe
layersofgestural,bodyandactortrainingapproachesthatunderliethem,Ihave
structuredthischapterbyinterweavingthepractice‐basedwiththehistoriographic,
beginningwithamomentintheclassroom—whenGaulierconfusedstudentsbyusing
theword“emotion”torefertotheNeutralMask—andusingthatmomentandothers
fromtheworkshopaslaunchingpadsbothfordippingintoearlytwentieth‐century
innovationsinmimetrainingandforcloselyexaminingthedynamicsoftheworkshop
itself,bothwithinandoutsidetheactualclassroom.Whilethisstructuringlacksthe
clarityofachronologicalordering—eitherofthestoryofmimeinthetwentiethcentury
orofthestoryoftheNeutralMaskWorkshopfromdayonethroughtothefinalclass—
initsloopingmovementsitallows,Ihope,foraproductivelayeringofeventsthat
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teasesoutapproachestoandunderstandingsofthebodythatfoundtheirwaythrough
decadesofactortrainingintoaspecificcontemporaryclassroom.
“Youhavenotgivenyourguts”:Interiority’sshift
Thesevenbodiesonstagejerkedandflailed,fillingtheroomwithechoingthuds.
Thelowthumpofahanddrumsoundedabovethedinmarkingtheendoftheexercise,
andthestudentsremovedtheirmasks,stoodupandwaitedfortheverdict.Feedback
wascharacteristicallygrim;onlyonestudenthad“alittlesomething,maybe.”Therest,
includingBritishstudentStephen,were“bad,horrible.”AsGaulier’spedagogical
approachomittedanyspecificdemonstrationsordirectreferencestogestural
movement,31Stephenaskedforclarification:
Stephen:IunderstandeverythingIdidwasbad.Buthowwasmy
movement?
Gaulier:Youhavenotgivenyourguts.Ifyoudon’tgiveyourguts,wesay
“bad.”
Stephen:Butcanyou…canyoubeabit…
Gaulier:Youhavegivensomethingcommensurant[commensurable],and
wedonotseesomethingbeautifulfromyou.Weseeclassique[classical]
actor.
Acoupleofthemesjumpoutinthisexchange:Gaulier’suseof“guts”whichpointstoa
31Apedagogicalapproachcommonlyreferredtoasvianegativa,discussedinChapter1andrevisitedingreaterdetaillaterinthischapter.
133
shiftinthevalueplaceduponthevisceralbodyduringthetwentiethcenturyinFrench
mime,32andhisreferencetothe“classiqueactor”whichevokedtheideaoftraditional,
text‐basedtheatreanditscorrespondingactingtrainingthatcanprioritizetextual
meaningoverphysicalspontaneity.Hisevocationofthisperceiveddichotomy—withthe
physicalplacedinthesuperiorpositionagainstthetextual—isrevealing,pointingtoan
importantshiftthatoccurredintheearlytwentiethcenturyintheunderstandingofthe
“natural”body.Thisphysical/textualdichotomyofcourseisoverlysimplisticandrooted
inaCartesianmind/bodysplit;GiovanniFusettiisoneofmanypractitionerswho
questionthisrhetoric,asking“Soifoneisphysicalwhatistheotherone?”:
Ifweanalyzethewordsweseethatstraight[thenon‐physical]referstoa
linearthinkingbasedonstructuresandideas,wellexpressedbytexts.
Whilephysicalinvolvesamorefluidanddynamicmovement,basedon
thebody,inwhichmovementsarenotstraightbuttheymostlyfollow
curvesandspirals.(Paradox1‐2)
Fusetti‘sassociationof“physical”withfluid,curvingmovementslinksthephysicalwith
theorganicor“natural”body;hisassociationoflinearthinking(“wellexpressedby
texts”)with“straight”pointstothemechanical.Similarly,inGaulier’sfeedbackto
Stephenonecandiscerntheoppositionoftextwithphysical,oflinearwithfluid.When
32Whileatthebeginningofthetwentiethcenturyperformativereferencestoavisceralinteriorofthemime’sbodyhadbeensimultaneouslyshunnedanddesiredasmimepracticeengagedinacomplexworking‐outofracially‐tingedcontaminationanxieties(asdiscussedinChapter2),inthelatterhalfofthecenturythe“natural”bodybecamemorevalued;Idiscussthisfurtherlaterinthischapterandinthefollowing.
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GauliertoldStephenthathismovementisbadbecausehehasnotgivenithis“guts,”he
wasdrawingonanunderstandingofthenaturalbody(fluid)assetagainstthemind
(linear,mechanical),privilegingtheformer.
Thisunderstandingofthenaturalbody’srelationshiptothemindcanbetraced
throughnineteenth‐centuryreactionstotheEnlightenmentemphasisonreasonandthe
roleoftheintellect,orthewill,inmasteringinstinct,labêtisse,asdiscussedinChapter
2.Thefirstfewdecadesofthetwentiethcenturysawashiftinthevalueassignedtothe
lattercategoriesinmimetheoryandpractice,aspractitionersincreasinglymistrusted
intellectandbegantoprivilegetheideaofaninnatewisdomburieddeepinsidethe
body.Thiswaspartlyduetotheincreasedimportanceplacedonthesubconsciousas
repositoryoffundamentaltruthsabouttheselfthatwerenotdirectlyaccessibletothe
consciousmind,asconstructedbyPierreJanet’slatenineteenth‐centurytheoryof
automatisme,exploredinChapter2.Freudianpsychoanalysisrigorouslymappedout
thisarchitectureoftheself,withtheunconsciousrealmpositionedbelowthesurfaceof
consciousreality,capableofspillingthroughseamsandgapsinthesupposedlystable
egointheformofphysicalneuroses.
AsJacquesCopeau,ÉtienneDecrouxandJean‐LouisBarraultsetthemselvesto
exploringphysicaltrainingmethodsofthenewmime,thisunderstandingofthedual
conscious/unconsciousnatureoftheselfbecameheavilyentrenchedinFrance.33Both
33Inthefirstfewdecadesofthetwentiethcentury,thesemimeartistsinParissetthemselvestoreinvigorateandreinventthemimeform.Theformwaswidelyconsideredtobeinseriousdecline,andfaultwaslargelyplacedonthegesturalsystemitemployed,whichwasfeltbymany
135
theprocessofpsychoanalytictherapyandthephysicaltrainingforperformers
developedbythesepractitionersreinscribedthenotionthatadeeper,moreessential
truthlaybeneaththerigidoutersurfaceofthepersonaandphysicalhabits.Despitea
self‐consciousdemarcationbetweenthenewmimeandtheold,however,theseartists
werefashioningtheirmimetechniquesbothwithinandinresponsetounderstandings
ofmechanizationandthenaturalthathadbeenprevalentinthetheatreworldsince
Diderot.Itwasduringtheearlydecadesofthetwentiethcenturythattheycametosee
thebodynotjustasamachinetobecontrolledbythewill,butalsoasasedimentation
ofsocializedhabitsthatdistancedthebodyfromitsnaturalstate(Roach218‐219).
Natural—informsthathadbeenbothcelebratedanddecriedasbêtisseinthe
nineteenthcentury—becamesoughtafterbymimepractitionerscommittedtothe
reinventionofmimeasatwentieth‐centuryartform.
InChapter4Iwillexplorefurtherthesethemesofthenaturalself,whichintersect
withunderstandingsofauthenticity,sincerityandspontaneityastheyemergedinthe
contextofFrenchmimetraininginthetwentiethcentury.Whatisimportanttonoteat
thebeginningofachapterontheNeutralMask—amaskformsteepedinthe
mechanizationofthebodythatoccurredintheearlytwentiethcentury—istheseeming
paradoxattheheartofearlytwentieth‐centuryFrenchmimeapproachestothebody,in
whichanunderstandingofthebodyasmachineexistedanddevelopedalongsidea
valuingofthe“natural,”“organic”body.Whatisparticularlynotableisthatthesetwo
tobebothtooliteralandnotnaturalistic(Felner15‐21).Iexplorethisissueofgesturalsystemslaterinthechapter.
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threads—ofmechanismandthenatural—appeardifficulttoseparateinthecaseof
twentieth‐centuryFrenchmimetraining;mechanizationhasmaintaineditsholdwithin
thistraditionevenasotherformsofactingtraininghavemovedtowardsthenatural,
andhasparadoxicallyincorporatedavaluingofthenaturalintoitspedagogyofthebody
asmachine.
“Paralyzedbyamorbidtimidity”:Copeau’smasquenobleandthefreeingofthebody
In1920JacquesCopeauopenedaschoolandlaboratoryfortrainingactors,Le
ThéâtreduVieuxColumbier,builtuponprinciplesarticulatedsevenyearsearlierina
manifestoentitledUnEssaideRénovationDramatique[AnAttemptatDramatic
Renovation].AtthetimeformalactortraininginFranceexistedonlyinthe
ConservatoireNationaldeMusiqueetdeDéclamationwhichtrainedactorsforthe
Comédie‐Française.TheatrepractitionersincludingCopeauandAndréAntoinefound
thetrainingofferedbytheConservatoireinadequatetodevelopingthecraftofacting;
AntoineoffersthefollowingdescriptionoftheConservatoire’smethods:
Eachstudentreceivedonlyabouttenhoursofpersonalattentionayear.
…Thenagaintheteachingislimitedtoasmallnumberofscenesfrom
classicplaysandrolesareassignedindifferentlytoalltemperaments.Itis
possibleforastudenttoworkonasinglepartforthreeyears,andonthe
strengthofthat,winthegrandprix,andbeelectedtothetroupeofthe
Comédie‐Française.(CopeauTexts3)
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Copeauwishedtoexploreanewkindofpedagogyforactors,onethatapproachedthe
“instinct”fortheatreasfundamental,thatsoughttostripdowntheaccretionof
socializedhabits—includingtheelocutiontechniquesatthecoreoftheConservatoire’s
training—thathebelievedengenderedsimplisticactingbasedonimitation.Hisbeliefin
craft(métier)astechnicalperfectioncombinedwithhisdesirefor“sincerity”inactors.
HeavilyinfluencedbyConstantinStanislavski,hewishedtodevelopasystemoftraining
thatfocusedonpsychologicalmotivationformovement(Felner39).Hebeganby
strippingawaystageaccoutrements,creatingthetréteaunu[barestage](Felner37),
thenturnedhisfocustothestrippingawayofimpedimentstotheactor’sbody.
OneofCopeau’sgreatestconcernswasthefreedomoftheactor’sbody.Inhis
Réflexionsd’uncomédiensurleparadoxedeDiderot[Reflectionsofanactoron
Diderot’sparadox](1929),Copeauexploresthewaysinwhichtheactorfindshimselfat
oddswithhisownbodyonstage:“Laluttedusculpteuravecl’argilequ’ilmodèlen’est
rien,sijeluicomparelesrésistancesqu’opposentaucomédiensoncorps,sonsang,ses
membres,saboucheettoussesorganes”[Thesculptor’sstrugglewiththeclayheis
modelingisnothing,ifIcompareittotheresistancestotheactorfromtheoppositions
ofhisbody,hisblood,hislimbs,hismouthandallhisorgans.34](16)Copeau’s
positioningofthevisceralityofthebodyasimpedimentisrevealinginlightofthelate
nineteenth‐andearlytwentieth‐centurymistrustofthevisceralbodyinFrenchmime.
Hissimultaneousconcernwiththefreeingofthisvisceralbody,however,isevidentas
34Unlessindicatedotherwise,alltranslationsinthischapteraremine.
138
hefollowsahypotheticalactorpreparingarole,initiallyinspiredwithinhisimagination
butslowlyfindinghimselfimpairedbyhisinabilitytoembodythatwhichhismind
dictates—anothertakeonthebody‐as‐machinecontrolledbythemind/thewill
discussedinChapter2.HisresponsetoDiderot’sparadox—aresponseevokedbyAlex’s
commentwhilesteppingoffaParisiantrainnearlyacenturylater—isthattheactor
shouldfeeltheemotionsheisplaying,whileacknowledgingthatfrequentlythistypeof
sincerityislostinlieuofmechanicalproficiency.
AccordingtoCopeau(Réflexions16),hisuseofmasksforpedagogicalreasons
developedunexpectedlywhenastudentinhisclassfoundherselffrozenonstage—what
Copeaudescribedasafreezingoftheblood,orsang‐froid.Copeau’schoiceoflanguage
redefinesthetermthathadreferredtothequalityofdetachmentsoadmiredin
nineteenth‐centurymimeperformances.Thegoalremainedthatofdetachment,butthe
imageryofthebody’sinteriorhadshifted:nolongerwasthebloodtobefrozen;rather,
the“natural”bodywastobereleased,freedfromtheconstrictionsofperformingone’s
societalrole.Inhissearchfortechniqueswithwhichtofreetheactorfromthekindof
self‐consciousnessthatfrozethebloodandparalyzedthebody,Copeaudescribes
stumblinguponakeyrealization:thatiftheactor’sfaceiscovered,herbodygainsmore
expressivecapabilities:
…So,inordertoloosenupmypeopleattheSchool,Imaskedthem.
ImmediatelyIwasabletoobserveatransformationoftheyoungactor.
Youunderstandthattheface,forus,istormenting:themasksavesour
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dignity,ourfreedom.Themaskprotectsthesoulfromgrimaces.Thence,
byaseriesofveryexplainableconsequences,thewearerofthemask
acutelyfeelshispossibilitiesofcorporealexpression.Itgoessofarthat,
inthismanner,Icuredayoungsterparalysedbyamorbidtimidity.(Texts
51)
Copeau’spositioningof“grimaces”asantitheticaltodignityandfreedomisreminiscent
ofGeorgesWague’sstanceagainstthebody’sgrimacesexploredinChapter2.
Interestingly,however,Copeauhereidentifiesthegrimacewiththesoulratherthanthe
body,ashiftinemphasisfromexternalcorporealgesturestoaninnerstate.Copeau’s
approachtosang‐froidandthecorpse‐likebodyalsomarksashiftfromearlier
attitudes:fornineteenth‐centuryFrenchmimeartists,asdiscussedinChapter2,sang‐
froidwasapositiveattributethatindicatedaperformer’sabilitytoremaindetached
fromfullidentificationwithemotionandacorrespondingdisturbinglossofcorporeal
control,aconstructionthatinformedlatenineteenth‐centurydescriptionsofPierrotas
corpse‐like.Copeau’sdeploymentofsang‐froidandhislanguageofmorbidity,however,
positionthesequalitiesasimpedimentstoperformer’sexpressivefreedom.The
“possibilitiesofcorporealexpression”hadtobegin,forCopeau,fromastateof
opennessmarkedbylackofmotion:
Thedeparturepointofexpressivity:Thestateofrest,ofcalm,of
relaxation,ofsilence,orofsimplicity…Thisisthefirstpoint.Anactor
mustknowhowtobesilent,tolisten,torespond,tostaystill,tobeginan
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action,todevelopit,andtoreturntosilenceandimmobility.(Écrits53,
qtd.Felner44)
TheimageofthesilentandimmobileactorthatCopeauconjuresherebears
strikingsimilaritiestoanimagedescribedonecenturyearlierbyHeinrichvonKleistin
hisÜberdasMarionettentheater[OntheMarionetteTheatre](1810),aworkwhich
likelyinfluencedEdwardGordonCraigwithwhomCopeauhadhadearlycontactashe
wasdevelopinghispedagogy.Kleiststructureshisessayasadialoguebetweenthe
authorandadancer,inwhichtheauthorexplainstothedancerthesuperiorityof
marionettestolivedancersintheformers’abilitytoexecuteperfectmovementsfroma
precisecenterofgravity:“...suchafigurewouldneverbeaffected.Foraffectation
appears,asyouknow,whenthesoul…locateditselfatanypointotherthanthecenter
ofgravityofthemovement.”Theauthor’sidealdancersare"dead,pure
pendulums…thespiritcannoterrwhereitdoesnotexist”(24).Describingthecenterof
gravityasthemarionette’s“soul”(23),theauthormakesofhumanidiosyncratic
consciousnessadisorderlyforce,workingagainstharmony:"...consciousnesscreates
disorderinthenaturalharmonyofmen"(24).InanimagethatCopeau’sdescriptionof
theyoungster“paralysedbyamorbidtimidity”evokes,theauthordescribeshisyoung
friendtryingunsuccessfullytorepeataspontaneousartisticgesturewithfoot:"An
invisibleandinexplicablepowerlikeanironnetseemedtoseizeuponthespontaneity
ofhisbearing"(25).Shiftingbrieflytothepossibilitiesofmechanicalperfectionthat
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residewithinorganicbeings,abearisputforthasasuperiorfencerduetohis
minimalistmovements(25‐6).
Craighadfamouslyrespondedtosuchideaswithaproposaltodoawayentirely
withthefalliblehumanbodyonstage.Theparadoxattheheartofsuchtheories—the
necessityforfullcontrolovertheactor’sbodyinordertoachievetheeffectof
“spontaneity”—gainedincreasingholdovermechanistictheoriesofactinginthelate
nineteenthcentury,whenthepushforself‐expressiongainedcurrencyinthewakeof
Romanticartisticindividualismandtheriseofpsychoanalysis.Thesomewhatmisleading
terms“realism”and“naturalism”whichhavebeenusedtodescribelatenineteenth‐
centuryimpulsestowardsself‐expressioncanbebetterunderstoodiflookedatnotas
attemptstorepresent,inJulianOlf’swords,“anopticallyorpsychicallyauthenticstate
ofreality”(492),butasthestruggleovertheneedtoreckonwiththeactor’sego,the
psychicinteriorityoftheperformer,asanadditionalelementofstagecraft.Richard
Wagner’scallfortheGesamtkunstwerkhadmandatedthesubordinationofallelements
ofthemiseenscènetotheoveralldesign.Theproblem,addresseddirectlyby
mechanistictheoristsincludingCraig,wasthattheunpredictabilityandinstabilityofthe
actor’sinnerself(anditsconcomitantexpressionbythebody’smovements)didnot
allowforthecontrolneededtoaccomplishthis.
Copeau,agreeingwiththenecessityofaneutralstartingpointformovement,
differedwithCraiginthathebelieveditwaspossibletodevelopteachingtechniques
thatwouldallowahumanbodytoachievethisneutrality.Hebroughtinthesculptor
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AlbertMarquetohelpdesignamasquenoble[noblemask](Felner45).Lecoq’slater
developmentofthemasqueneutre[neutralmask]drewonCopeau’smasquenoble,so
namedbecauseCopeaubaseditsdesign—and,inpart,itsfunction—onthemasksworn
byeighteenth‐centuryaristocratswhowhichtoremainanonymousinpublic.Copeau’s
masquenobleservedasimilarfunctionofprovidinganonymity,ashewishedtofreethe
studentfromthestultifyingeffectsofpersonality(Hodge72).
Reclaimingtheeighteenth‐centurymasktraditionofdisguisingone’ssocietal
identity,CopeaucreatedhisnoblemaskbasedontheVenetianbautamask(Figure3).
Figure3:TraditionalVenetianbautamask35
ThenamemayhavederivedfromtheGermanbehüten(toprotect),whichsuitsthe
35 Source:www.lamanomasks.com
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functionofthemaskincoveringthefaceandalteringthevoicepitchsothatthe
individualidentityofthewearercouldnotbeascertained.Thename’sderivationmay
alsobefoundintheGermanbauorbabau,aGermanmonsterusedtofrighten
misbehavingchildrenintoobedience:“Senonstaibravovieneilbabauetiportavia…”
(“Ifyoudonotbehave,thebabauwillcomeandtakeyouaway…”)(Delpiano),a
connotationthatevokestheuncannyaspectofanexpressionlessmaskhidingtheface
ofamovinghumanbody.
Copeauforegroundedtwofunctionsofthenoblemaskinhiswork:thehidingof
thefacewhichallowedforfreedomofexpression,andtheplayingofthemaskitself,
whichwasmeanttoencourageneutrality—completebalance,astateofphysical
readiness—inphysicalbearing.Asubtlebutimportantlinkconnectsthetwo:if
neutralityiswhatcanbefoundwhentheself‐consciousnessoffacialvisibilityis
removed,thenneutralityiswhatisimaginedtoremainafterphysicalhabitsthat
performone’sroleinsocietyhavebeenstrippedaway.Thislinksneutralitywith
“natural”and“organic,”thatwhichexistsbothpriortoandbeneathsocializedhabitsof
physicality,andwhichwaslatertoinspireLecoq’spedagogicaluseoftheNeutralMask
to“permettezd'éprouverl'étatdeneutralitéavantl'action,unétatderéceptivitéàtout
autourdenous,sansleconflitintérieur”[“enableonetoexperiencethestateof
neutralitypriortoaction,astateofreceptivenesstoeverythingaroundus,withnoinner
conflict”](LecoqCorps36).InthenextsectionIanalyzeGaulier’sNeutralMask
workshop,lookingatthewaysthisideaofneutralitywasdeployedwithinthisparticular
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pedagogicalsetting.
Figure4:StudentsworkingwiththeNeutralMaskinGaulier’sworkshop
Gaulier’spedagogy:Vianegativa,beautyandpleasure
OnfirstdayoftheNeutralMaskworkshopIfoundmyselfenteringanexisting
community.Mostofthestudentshadbeenworkingtogetherforamonth,havingjust
completedthefirstworkshopinGaulier’sannualprogression,LeJeu[Play].Thisinitial
workshop,forwhichIwasnotpresent,wasdescribedbystudentsas“difficult,”
“disorienting,”“impossible,”“frightening”and,perhapssurprisingly,“fun.”36Students
werethrownuponstagewithdirectionsasminimalandvagueas“Befunny,”and
quicklylearnedthateverytechniquetheyhadbroughtinwiththemtoplease—to
pleaseanaudience,ateacher,fellowstudents—didnotfunctionasanticipatedor
36Studentquotesfromwrittenclassroomnotes,November2007.
145
intended.Colin,arecently‐graduateduniversitytheatremajorfromtheU.S.,described
feelinglikehewasmadlyregurgitatingeveryperformancetechniquehehadeverbeen
taught,untilhewasleftwith“nothing.”Anditwasthis“nothing”thatGaulierwas
apparentlyafter:Colinrecountedtheteachertellingagroupofexhausted,demoralized
studentsthatthepointwastomovethrougha“tunneloffailure,”sheddingeachof
theiracquiredhabitsuntiltheyemergedopenand“beautiful.”
Thisnotionofsheddingacquiredhabitsistiedtothepedagogicalmethodofvia
negativa,originallyarticulatedbyJerzyGrotowski,whichthoughnotexplicitlynamedas
suchiswidelypracticedinboththeLecoqandGaulierschools(MurrayLecoq49‐50).
Theteacherdoesnottellthestudentwhattodo,doesnotdemonstrate;rather,heor
shewitnessesthestudenttryvariousstrategies,withfeedbacklimitedtovariationson
“No,thatwasn’tit”(oftencolorfullyembellishedinGaulier’sclassroomwithsuggestions
forhowtheaudiencemightliketo“kill”thestudentforhisorher“horrible”
performance),andanoccasional“Yes—beautiful”—likewisewithlittleornoexplanation
ofwhy.Vianegativaisrootedinunderstandingsofthephysicalbodyasacalcificationof
acquiredhabitswhichhavemisshapenits“natural”state,anassumptionthatgained
currencyduringthefirstfewdecadesofthetwentiethcenturyandwhichhasbecomea
stapleofcontemporaryWesternactingtraining.Vianegativaisthenamethodthat
attemptstoavoidteachingthestudentbypilingonyetanotherphysicalhabitor
technique;rather,thestudent’s“truest”selfisunderstoodtobelocatedunderneath
thebodyofhabit,buriedbeneathlayersofwhatPierreBourdieutermscultural
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habitus;37thereforeaccessingthisdeepestselfwhichcanthenactivatethebodyina
morenatural,“beautiful”wayrequiresthestudenttodoithim‐orherself;theteacher
canonlyserveasawitnesswhoguidestheminimalamountnecessary.38
Whatcriteriadoestheteacherusefordeterminingwhetherastudent’s
performancemeritsa“Yes”ora“No”?InGaulier’scase,itis“beauty,”atermthathe
tiestothenotionsof“trueself”and,Iwouldargue,“instinct.”IntheNeutralMask
workshopstudent’sinnatebeautywasconnectedtoanideaofthe“natural”body
followingitsowninstincts,setagainsttheintellectualismofthemind.WhenIvone
attemptedtoincorporatetextintoherfiremovementduringoneexercise,hereyes
squintedasshespoke,drawingattentiontothemovementsofherfacialmuscles.
Gaulierdescribedherperformanceastoo“academic,”andreiteratedtheimportanceof
prioritizing“pleasure”inthemovement.“Pleasure”and“fun”werelinkedfrequentlyin
feedbacktostudents;whenastudent“lostthefun”ofthemovementhermovement
became“boring.”
Thiswaswellillustratedduringtheanimalexerciseofthethirdweek.Attheend
ofthesecondweekGaulierhadinstructedustovisitthezooovertheweekendandfind
ananimaltoobserve,whichwewouldexplorewithmovementthefollowingweek.
37AccordingtoBourdieu,culturalhabitusis"the'takingin'ofvalues,dispositions,attitudesandbehaviourpatternswhichbecomepartofourdaily,apparentlyindividualconduct…[Itis]deeplyembodiedandnotmerelyamentalandcognitiveconstruction"(qtd.inWebbetal.37).BourdieudrawsonEugenioBarba’sconceptof“inculturation”aswhatperformers“haveabsorbedsincetheirbirthinthecultureandsocialmilieuinwhichtheyhavegrownup.Anthropologistsdefineasinculturationthisprocessofpassivesensory‐motorabsorptionofthedailybehaviourofagivenculture"(Barba&Savarese1991:189).38Ianalyzethisideaofthe“trueself”inmoredetailinChapter4.
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Matt’sexperienceonMondaywasnotatypical:heattemptedtoexactlyreplicatethe
movementsoftheanimalhehadchosen—theseaturtle—butthisliteralismcausedhim
to“losethemovement”whenhestoodup.Hedescribedhisfrustrationintermsthat
revealedactingtechniquesbasedonintellectualcontrolofthebody,actingoutimages
onehasinone’shead:
Matt:Idon’tknowwhattodo—Ihavetheimagesinmyhead,Iwentto
thezoo,it’sjusthowmymindworks.
Gaulier:Youdotherhythmonthefloor,andwhenyoustandupitis
absolutelynotthesame.
Matt:Sosometimesthemovementisgoodonthefloor?
Gaulier:Yes.
Matt:Isitthattherhythmistoohuman,andyoulosetheanimal?[This
statementpointedtowardsanideathathewassupposedtoliterally
recreatetheanimal’smovements,topresentarealisticanimaltothe
audience.]
Gaulier:It’sthatyoudon’thavethefunintheanimal.
Matt’sfocusonthe“imagesin[his]head”andhowhis“mindworks”highlightsan
approachthatmoststudentshadtorepresentationasanembodiedtranslationofa
mentalimage.Matt’sinsistencethathewenttothezoounderscoresthisapproach:he
physicallyexperiencedaneventthatwastranslatedintohismindintheformofa
memory,whichhewasnowdrawingoninclasstotranslatetheimageoftheanimalinto
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themovementsheperformed.WhenGauliercritiquedhisstanding‐upmovement,Matt
interpretedthisasafailureonhisbody’sparttoaccuratelytranslatetheimageofthe
animal;whatGaulierwasafter,however,wasnottheliteralaccuracyofthemovement,
butaqualitywithinit:“havingfun.”
Thisinjunctionplacedstudentsinthepredicamentof”havingfun”onstagewithin
thestructureofaclassthatmadeoneabsolutelyterrifiedtoperform,apedagogical
techniquethatproducedadisorientationwithimplicationsforself‐consciousness
reminiscentofCopeau’sbattleagainsttheself‐conscious“freezingoftheblood.”Each
exercisebeganwithGaulierbangingonthehanddrumheheld,ashesatinachairin
thecenteroftheaudience,slumpedover,chinnestledinbeard,eyesgloweringatus
frombeneathbushyeyebrows,aperpetualfrownonhisface.Thiswasnotthefaceof
encouragement,anditwasmadecleartousthatassoonashebecameboredwithour
performance,hewouldbangthedrumandweweretoimmediatelystopwhatwewere
doing.Thisinducedafranticqualityinusasweattemptedtoengagewitheachexercise,
knowingthatwewouldalmostcertainlybeverballyrippedtoshredsoncetheexercise
wasover.Theanticipationofthedrumbeinghitwasalmostunbearable;inexercisesin
whichGaulier’sinstructionwasforustorunonstageonebyoneand“play”until
Gaulierwas“bored”withus,studentsoccasionallypre‐emptedthejudgmentbyrunning
offstagethemselvesbeforethedrumhadbeenhit.
IhadknownofGaulier’sreputation,ofcourse,beforeIarrivedattheschool;what
Iwasunpreparedforwasthequalityoflightheartedness,warmthandhumorthatlay
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behindit.Laughteralmostalwaysaccompaniedstudents’displaysofterror,and
wheneverGaulierbeganfeedbackwithalongsighand“Doyouthinkthatwelove
Stephen?Thatheismostbeautifulthingwehaveeverseen?Ordowetakehimtoacliff
withaverysmallpieceofrope…”delightedgigglesfilledtheroominresponsetothis
hyperbole,andtherecipientofthelengthydiatribemoreoftenthannotsmiled
abashedlyandnoddedinagreementwiththepronouncement.Mypersonalexperience
wassharedbymoststudentsIspokewith:onceIhadbecomeaccustomedtobeing
“killed”ratherthanpraised,IceasedtocarequitesomuchwhenIdidanexercisebadly,
foundtheexaggeratedcriticismsabitofareliefbecauseboththeirfrequencyandtheir
hyperbolicqualitycushionedtheirimpact,andontheoneortwooccasionsthatIwas
praised,feltthatIhadtrulyaccomplishedsomething.Ialsobecamebetteratdiscerning
whenIhadperformed“beautifully”andwhenIhadbeen“boring,”adistinctionthatlay
inanebulousqualityofself‐consciousness:whenIwasextremelyawareofmy
movementsandworkedtocontrolthem,Ifaredpoorly,whereaswhenmybody
seemedto“takeover”andleadmethroughwhatIperceivedasspontaneous
movements,thefeedbackwaspositive.Thisdetachmentfromself‐consciousness—
whichcouldbelinkedtotheself‐consciousnessthatCopeauhadnotedinhisstudents
asafreezingoftheblood—wasdescribedbyonestudentlaterintheyearas“pleasure”:
Tome,Ithink,pleasurewasmoreaboutbeingcomfortable,andthatwas
somethingthattookalongtimetofeel.AssoonasIstartedfeeling
comfortable,Istartedtohavemorepleasure.Sothetwoofthemkindof
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combined.Theeasetobeonstage,orthedesiretostayonstage…Ithink
itwaswheneveryoustoppedthinkingaboutyourself…wheneveryour
driveisnotyou,whenit’ssomeoneelse.(Interview2007)
Thisnotionoffocusshiftingfromoneselftosomethingexternalwasacommonone
amongGaulierstudents,andwasechoedaswellbyaformerstudentofLecoq’s,who
identifieditasthesinglemostusefullessonshelearnedduringheryearstudyingat
ÉcoleJacquesLecoq.39Givingthestudentanexternalfocustofreehimfromthe
constraintsofself‐consciousnessisapedagogicallineageofCopeau’sinteractionswith
themarionetteactingtheoriespopularinthenineteenthandearlytwentiethcenturies,
descendedfromsuchtheoristsasKleistandCraig.Copeau—whofeltstronglythatthese
theorieswereonlyvalidifactualizedbyactorsintheclassroomandonthestage,and
whoadmiredCraigyetcriticizedhimforhisinabilitytorealizethesetheoriesinthe
actualtheatre(Texts16)—alongwithhisfollowersintheearlytwentieth‐centuryFrench
mimetraditionworkedtocreatepedagogicalmethodsforhelpingthestudentloseself‐
consciousness.Atthecenterofthesemethodslaythemasquenoble,whichLecoq
developedintothemasqueneutre,theneutralmask.
Puppetbodies:Mechanizationandneutrality
TheNeutralMaskaspositionedinGaulier’sworkshopwasphysicallya‐temporal,
withnobodilypastthatmightinfluencethebody’spresentmoment.Onthefirstdayof
39 Interviewwithformerstudent,2009.
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theworkshopthreestudentsstoodup,putthemaskonandturnedtotheaudience.
Gaulierinstructedthemtowalkdownstagetothebeatofthedrumheheld;asthey
walkedhepointedoutelementsoftheirphysicalbearingsthatwereoutofalignment:
“Nosehigher,lower,onemillimeterhigher,bon.”Hisuseofsuchhighlyprecise
instructionsforphysicality—“…onemillimeterhigher…”—drawsonearlytwentieth‐
centuryunderstandingsofthebodyasmachinewhichinfluencedthedevelopmentof
Lecoq’sNeutralMask.Theearlytwentieth‐centuryfascinationwiththebodyasmachine
wasmostexplicitlyexploredinRussianConstructivismandMeyerhold’sbiomechanics.
Theformerrepositionedallstageelementsincludingtheactor’sbodyasfunctional
ratherthanrepresentational,andthelatterdevelopedarichsystemofphysicaltraining
thatallowedtheactortoachieveultimatecontroloverhisbody—anexpansionof
nineteenth‐centuryWillcontrollingthebody‐as‐automaton.InFrancetheseideaswere
augmentedbyaninterestinsportspedagogy;Lecoqfamouslycametotheatrefrom
sports,enrichingatraditionthatwasalreadysteepedinphysicalmovementsystems
derivedfromexplorationsofhumanmovementthatapproachedthetrainingofthe
bodyfunctionally,asonewouldapproachtheproperandmostefficientfunctioningofa
machine’sparts.Inhissearchforapedagogyofmovementthatwouldreinvigorate
mime,CopeauwasinitiallyheavilyinfluencedbyÉmileJaques‐Dalcroze’ssystemof
eurhythmics.Dalcroze(1865‐1950)developedeurhythmicsasapedagogicalsystemthat
wouldtrainactorsinmusicalrhythmanddanceinordertoimprovetheircoordination
andhelpthemtosynchronizemovementandspeech.Aspectsofhisphilosophyfind
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laterechoesinLecoq’spedagogicalsystem,suchashisbeliefthateachbodilygesture
expressedan“innervoice”andthatrhythmicmovementproducedinneremotions
(MurrayLecoq165).WhatledCopeautolaterrejectDalcroze’sworkinfavorofGeorges
Hébert's“naturalgymnastics”(asystembasedoneconomyofmovement)waswhat
eurhythmicstendedtobecomeinpractice:sequencesofuniformexercisesthattrained
performers’bodiestoimitateastrictform,ratherthanthecultivationofindividual
expressiveabilityattheheartofDalcroze’spedagogicaltheory(Olf490).Thisseeming
splitbetweentheoryandpractice,however,iscomplicatedwhenonelooksat
Dalcroze’stheoreticalintersectionswithmechanistictheoriesofacting,expressedin
suchstatementsas“fundamentaltoallindividualtrainingisthedisciplineofemotion
andthepracticeofreaction”(qtd.inOlf490)andhisexpresseddesireto“playonthis
marvelouskeyboardwhichisthemuscularandnervoussystem”(qtd.inOlf490),a
paradoxthatevokesthemarionettetheoriesofKleistandCraigwhowishedtoachieve
“spontaneity”throughfullcontrolovertheactor’sbody.
Decroux’sexpansionofCopeau’smasquenobledrewonCraig’smarionette
theory,asDecrouxwishedtomoveawayfromnaturalisticgesturalstylestowardsthe
abstract.Inordertoachieveastateofabstraction,theimperfectionsofthehumanbody
hadtobeminimized.Decroux’ssystemoftrainingwasbasedintheperformerachieving
absolutecontroloverhisbody;“involuntary”physicalmovements,linkedinthisageof
psychoanalysistotheunconsciousrealmofinstinctandemotion,hadtobesomehow
broughtundervoluntarycontrol.Craighadbelievedthistobeimpossible;in“TheActor
153
andtheÜbermarionette”(1908)hewrites:
Therehasneverbeenanactorwhohassotrainedhisbodyfromheadto
footthatitwouldanswertotheworkingsofhismindwithoutpermitting
theemotionsevensomuchastoawaken…never,never:thereneverhas
beenanactorwhoreachedsuchastateofmechanicalperfectionthathis
bodywasabsolutelytheslaveofhismind.(7)
Craig’semphasisonemotionsistelling:themechanicalbodyismarkedbylackof
emotion;emotionsherearethemarkersoftheorganic,the“natural”body.Decroux
tookupthechallengeposedbyCraigandattemptedtocreateamimeforminwhicha
humanperformercouldencompassthequalitiesofamarionette.Havingmaskedthe
mime’sface,Decrouxdevelopedthegymnastiquedramatique,aseriesofexercises
intendedtogivethemimecompletementalcontroloverhisbody:“WhatIhavedoneis
toconsiderthehumanbodyasakeyboard—thekeyboardofapiano…Nothingshould
happeninthebodyexceptwhatisdesiredandcalculated”(qtd.inFelner64).His
gymnastiquedramatiquefocusedontheisolationofbodyparts,followingthekeyboard
analogyoftheinstrumentalistplayingupondiscretekeys,andpromptingEricBentleyto
comment“Inhis[Decroux’s]presence…weglimpsedtheübermarionetteintheprocess
ofcreation”(187,qtd.inFelner65).Thisechoestheidentificationoftheperformer’s
bodywithmusicalinstrumentsinlatenineteenth‐centuryFrenchmime,asdiscussedin
Chapter2.ThisworkfurtherdevelopedintolemimestatuaireformwhichDecroux
contrastedtolepantomimeblancheofthenineteenthcenturyinitsfocusonthe
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expressivequalitiesofthetorsooverthegesturesofthehandsandtheface:
Theoldpantomimeisdead;thepantomimeasoneperformeditindays
goneby—anecdotal,chatty,burdenedbyfutiletraditions,and
subordinatedtoanalphabet,analltooformalcode.Themobilestatuary
mimebearsitsolittleresemblancethatitactuallyconstitutesanewart,
amodernart.(qtd.inFelner65)
Ironicallytheminimalistmimestyleofthelatenineteenthcentury,thatfocused
gesturesinthehandsandface,hadbeendevelopedinresponsetowhatpractitioners
understoodasanexcessively“formalcode”ofDelsarte’sgesturalsystem.Decrouxhere
echoesthereasonsoflatenineteenth‐centurypractitionersfordevelopinganewmime
form,whileattributingtotheirnewstylethesamethingtheywereattemptingtoreject.
Onceagainthenewestmimeformisunderstoodasthemostexpressive,theolderform
burdenedbyartificiality.
WhileDecrouxandCopeauintentionallyandexplicitlysettheirrespective
techniquespantomimestatuaire[statuepantomime]andjeuphysique[physicalplay]
againstthepantomimeblanche[whitepantomime]ofthenineteenthcentury,these
newmimeformsdrewonideasofsang‐froidanddetachmentthathadmarkedthe
nineteenthcentury’stradition,reframingthemas“neutrality.”Nineteenthcentury
sang‐froidhadbeenconsideredanecessaryskillforconveyingcontroloverthe
gesturingbody;bymaintaininganairofdetachmentthemimewasabletoenact
successfullythesystemofgesturallanguagethatconveyedspecificmeaningtothe
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audience.Earlytwentieth‐centurymimepractitionersrejectedtheideaofthistypeof
gesturallanguage,findingittooliteralandmerelyalesser,silentversionofspoken
language.Decrouxtookthisreactionagainstthebodymimingspokenlanguagetoan
extreme,attemptingtodevelopamimeformthatwascompletelyindependentoftext,
inventingagrammarofthebodyunconnectedtospokenlanguage(Felner56).They
embraced“neutrality”asastateoffullphysicalpotential,aperfectbalancingofthe
bodyfromwhichthemimecouldenactmovementsthatconveyedmeaning.Theneutral
stateitselfwasnotconsideredtocontainmeaning,andwastiedtotheideaofthe
naturalself,theselfpriortoinculturation.40ThuswhenLecoqlaterdevelopedhis
school’scurriculum,heplacedNeutralMaskatthebeginningofthemasksequenceand
Clownattheend,astherednosewasconsideredthemostidiosyncraticandhighly
personalofthemaskforms.
Thisshiftfromsang‐froidtoneutralitywasindicativeoftheshiftintheimplicit
valueofthe“natural”self.Whensang‐froidwaspracticedtodisplaymasteryover
instinctive,base,unpredictableanduncontrollablebêtism,itreinscribedamistrustof
thenaturalthatwasdeeplytiedtodiscoursesofrace,classandgender,asdiscussedin
Chapter2.Neutrality,bycontrast,lionizedthe“naturalstate”;practitionersdeveloped
extensivetrainingregimesaimedatbreakingdownthecalcifiedhabitsofthebodyin
40Iuse“inculturation”hereasdefinedbyEugenioBarba,whodescribeditaswhatperformers"haveabsorbedsincetheirbirthinthecultureandsocialmilieuinwhichtheyhavegrownup.Anthropologistsdefineasinculturationthisprocessofpassivesensory‐motorabsorptionofthedailybehaviourofagivenculture."(Barba&Savarese189).Barbasetsthisagainst“acculturation”whichis"asecondary'colonisation'ofthebody,butadeliberateandplannedone"(MurrayetalPhysical140).
156
ordertoaccessthepure,balancednaturalstatebeneath.Whatisremarkableabout
bothapproachesistheeffortanddisciplineappliedto,inthefirstcase,controllingthe
naturalstate,andinthesecondcase,achievingit.Inthefirstcasethenaturalwas
understoodasself‐motivatingandexcessive,capableofburstingforthatthefirstsignof
weaknessinthecontrollingsang‐froid.Inthesecondcase,thenaturalishiddenaway,
nearlyinaccessible;theinculturatedbodywithitsirongriponphysicalmovementmust
bebrokendown.Theviewofneutralityasthefreeingofthenatural,pre‐inculturated
selfwascloselytiedtotwoevents:thedevaluingoftextinfavorofabstractgesture,and
changingunderstandingsofhowknowledgewasgenerated.
Akeyfactorintheshiftfromneutralityassang‐froidtoneutralityasorganic
freedom,then,wasintheunderstandingofhowknowledgewasgenerated.The
marionettetheoriesespousedbyCraigandtakenupbyDecrouxlefttherationalmind
atthecenterofknowledgegeneration.WhenLecoqenteredthemimesceneinFrance
in1956,precisemovementsandabsolutecontroloverthebodywereatthecenterof
mimepedagogy.MarcelMarceau,discipleofDecroux,hadcreatedagesturalsystem
thatbroughttolifeaninvisibleworldofobjectsbeforethespectators’eyes.Lecoq,
findingthisstyleofgesturetooliteralmuchasDecrouxhadfoundpantomimeblanche’s
silentlanguagetrappedwithintextualrealism,basedhispedagogyonthepremisethat
knowledgeisgeneratedprimarilythroughthebody.41Decrouxhadpositionedthebody
asthatwhichimitatesthought:“Everythingispermittedinart,provideditisdoneon
41FordetailedaccountsofthedevelopmentofLecoq’spedagogy,seeLecoq2000,Murray2003andFelner1985.
157
purpose.Andsinceinourart[mime],thebodyofmanisthebasicmaterial,thebody
mustimitatethought”(DecrouxParoles114,qtd.inFelner149).Lecoq’sdivergence
fromDecrouxonthispointaltered,slightlybutsignificantly,thewayinwhicheach
definedneutrality.ForDecroux,theneutralbodywasadisciplinedbody,fromwhichthe
mime’sselfhadsuccessfullydissociatedtothepointwherethebodyitselfwasmerely
animitationofthought.Lecoq,bypositioningthoughtasaresultofmovementrather
thanitsinstigator,mergedthebodywithconsciousness.Inordertoachieveastateof
neutrality,orphysicalfreedom,Lecoq’smimeperformerplayedwithmovementin
ordertodiscoverphysicalinculturatedhabitsandshedthem,aprocessthatLecoq
describesasanerasureofpre‐existing(embodied)knowledge:
Aucommencement,ilestnécessairededémystifiertousquenoussavons
afindenousmettredansunétatdenon‐connaissance,unétatde
franchiseetladisponibilitépourlaredécouvertedel'élémentaire.Pour
maintenant,nousnevoyonspluscequinousentoure.
[Inthebeginning,itisnecessarytodemystifyallthatweknowinorderto
putourselvesinastateofnon‐knowing,astateofopennessand
availabilityfortherediscoveryoftheelemental.Fornow,wenolonger
seewhatsurroundsus.](L’école41)
Inthismimenaturel[naturalmime]theneutralstatewasnolongeradissociatedone,
butoneof“openness”and“availability.”ThusLecoq’sNeutralMaskpedagogybeganto
includephysicalexplorationsofthenaturalworld—theelements,animals,colors.The
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mindwasre‐framedasanimpedimenttoknowledgeratherthanknowledge’ssource.
Earlierinthecentury,Decrouxwasinterestedintakinggesturalexpressiontoits
mostabstractform.Yethisunderstandingofneutralityretainedtheanti‐organic,
instrumentalist‐upon‐a‐keyboardaspectoflatenineteenth‐centurymarionettetheory.
Hebelievedthatinordertoachieveastateofneutrality,theperformermustusehis
mindtocompletelymasterhisbody.Interestingly,whilespokentextwasdoneaway
withastooliteralandthemime’sfaceandthushisidentitywereremovedthroughthe
maskinordertoseparatethehumanbodyfromitstraditionalform,therationalmind
remainedatthecenterofknowledgegenerationforDecroux.
Gaulierandconfusion:Apedagogyofdisorientation
TheplayingofneutralitywasinitiallyapproachedbymanystudentsintheGaulier
courseasastyleofmovementthathadtobelearned,anunderstandableassumption
giventhecloserelationshipbetweenthedevelopmentoftheNeutralMaskpedagogy
andtheuseofintensivephysicaltrainingtechniquessuchasthoseofDalcrozeand
Decroux.DuringaDayTwobathroombreak,aBritishwomannamedAnnaturnedtoa
groupqueuingintheladiesroomandaskedwhetheranyofusknewhowwewere
“supposed”tobemovingastheNeutralMask.“Arewesupposedtobegraceful?Big?
Beautiful?What?Ifeellikewe’resupposedtobegraceful,likedancers—heseemsto
likepeoplewholooklikethey’redancerswhentheymove,”sheexplained,thenadded
withahintofdesperation,“ButI’mnotadancer,Ican’tmovelikethat.”
159
ThisresponsepointedtoGaulier’sestablishmentofaclearhierarchyinhis
classroom,inwhichhewasthesoleandultimatearbiterofastudent’sperformance—
anexampleofthemarionetteparadoxofspontaneitythroughcontrolappliedtothe
teacher/studentrelationship.Gaulierwouldoftensolicitfeedbackfromotherstudents,
butusuallyintheformofsuchleadingquestionsas“Doyouthink,whenyouseeVictor
jumpupanddownlikeahorriblechicken,‘Ah,thisisthemostbeautifulmovementI
haveeverseen,thankyou,Ihavefoundtruebeautynow.’Ordoyouthink,‘Thisisthe
mosthorriblejumpingIcanimagine,Iwanttokillhim’?”Studentsquicklylearnedto
discern,evenwhensuchquestionswerephrasedmoreambiguously,whatGaulier
wantedthemtosay;theformatoffeedbackwastocreateauniformandpowerful
judgment,nottodiscussthesubtletiesofwhatworkedandwhatdidn’t.Gaulier
repeatedlystates,inclassandinhisrecentbookthathisgoalasateacherisnotto
teachonestaticmethod,buttoalloweachstudent’sindividualitytoemerge:
EntreAttilaetmonenseignement:unocéan.Làoùl’unpassait;l’herbe
nerepoussaitpas,làoùl’autrepénètre;desfleursoudescactus,oudes
ortiesfleurissentàtousboutsdechamps.Etdesoriginaux!Pasdesfac‐
similés!Pasdescopies!Del’authentique!/Quellesdifférencesentre
cesanciensétudiants?...ilssonttousdissemblablesetmerveilleuxdans
leurart./Aucunrouleaucompresseurnelesaratatinés,aucunprof.ne
leurarefiléunstylecommedesapprentismarlousfourguentdesphotos
pornographiquessubrepticement,souslemanteau./Unprof.donnedes
160
libertés.Pasplus./Etlestyle?/Ilfleuritsurlapoésiedechacun.Nepas
ytoucher!Fragile!
[BetweenAttilaandmyteaching:awholeocean.Whereoneofthem
passed,thegrasswouldnotgrowagain.Wheretheotherseepsin,
flowersorcactiornettlesflourishingreatprofusion.Andoriginals!Not
facsimiles!Notcopies!Theyareauthentic./Whatdifferencesarethere
betweentheseformerstudents?...theyarealldissimilarandmarvellous
intheirart.Nosteamrollerhassquashedthemdown.Noteacherhas
fobbedthemoffwithastylethewayapprenticepimpssellpornographic
photographs,surreptitiously,onthesly./Ateachergivesfreedom.
Nothingmore./Andthestyle?/Itflourishesinthepoetryofeach
individual.Don’ttouchit!It’sfragile!](Gégèneurbackcover)42
ManyGaulierstudentswouldagreewholeheartedlythatGaulierpracticeswhathe
preachesinthisregard;thathispedagogyisultimatelyaboutbringingouttheunique
beautyofeachindividualstudent.Theauthoritativemethodsheusestoachievethis,
however,frequentlysparkresistanceinstudents,asIexplorefurtherinChapter4.
Anna’squestionwasanattempttounderstandtechnique,tograspthecorrect
styleofmovementfortheNeutralMask.Herswasnotauniquequery;oneofthe
commonsideeffectsofthevianegativapedagogicalapproachisconfusionamong
42GaulierwroteLeGégèneur:jeulumièrethéâtre/TheTormentor:lejeulighttheatre(2007)inbothFrenchandEnglish;thefirsthalfofthebookisinFrench,andthesecondhalfishisEnglishtranslation.AllsubsequentquotesfromthebookinthischapterincludebothhisFrenchandEnglishversions.
161
studentsastowhattheteacherwants,whatisthe“correct”waytoperform.
Importantly,vianegativaisnotaboutanabsenceofspecifictechnique,an“anything
goes”approach.Thephilosophybehindthisapproachreflectsanexplicitengagement
withapedagogicalparadox:thereisnoone“right”techniquethatcanbedemonstrated
tothestudentbytheteacher,yettherearemany“wrong”techniquesthatthestudent
mightattempt.ThestudentsinGaulier’sworkshophadfiguredoutthattheyneededto
performinacertainwayinordertogarnerararepositiveresponsefromtheteacher;
questionsaskedbetweenexercisesandattheendofclassreflectedourattemptsto
piecetogethertheknowledgeweneededtoperformthe“correct”technique.
Questionsrequestingclarificationonaspecificcriticismwerequicklyabandoned
asastrategybymostofthestudentsoncetheyrealizedtheywereunlikelytoreceivea
satisfactoryresponse.AfterthefirstdayoftheworkshopwhenGauliercontinually
offeredspecificfeedbackonphysicaltechnique(“Nosehigher,lower,onemillimeter,
bon”),exerciseswereconductedinsilenceapartfromthebangonthedrum,andpost‐
exercisefeedbackrangedfrom“PamIkill”43to“Rachelisbeautiful,no?”44Most
studentsintheNeutralMaskworkshophadbeeninthepriorLeJeu[Play]workshop,
thefirstintheannualseries,andhadlearnedthefutilityofaskingGaulierforspecific
43Gaulier’suseof“kill”wasmeantnotinaliteralsense,obviously,butasaconnotationofabsolutedismissaloftheperformance.WhenGauliersaidhe“killed”someone,hemeantthattheirownindividualbeautyhadnotmanifestedanywhereintheperformance;theyhaddrawnmerelyonconvention.44Similarly,hisuseof“beautiful”wasnotmeantinaconventionalsense,buttoindicatethevisibilityofthestudent’suniqueinternalbeautyintheperformance:“Anactorisbeautifulwhenhedoesn’thidehissoulbeneaththepersonalityofhischaracter,whenheallowsustoperceive,behindthecharacter,thefacehehadwhenhewasseven”(GaulierJournal12).
162
feedback.Gaulierencouragedquestionsandalwaysansweredthem,butdidsoina
deliberatelyopaquestyle,oftendrawingonmetaphoricalturnsofphrase.Thetaskof
untanglinghispoeticyetconfusingphraseswasmademorearduousbyhisbroken
English,whichmadeitdifficulttoknowhowspecifichisterminologywas .45Having
describednearlyeverystudent’sperformanceas“horrible,”forinstance,heresponded
toJesse’squestion“Wasmymovementbad?”with“Theruleoftheschooliswedon’t
sayitwashorrible.”Didthismeanthat“horrible”wasnotaviabletermintheschool—a
pointcontradicteddirectlybytheword’sfrequentappearancefollowinganexercise—or
washereferringspecificallytoJesse’sperformance?Gaulier’sexplicit“rule”(“Therule
oftheschooliswedon’tsayitwashorrible”)contradictedoneofhisimplicit“rules”of
theworkshop(studentsweremeanttoconsistentlyfail).Thiscontradictionitselffuelled
anotheroftheimplicit“rules”:thestudentsweremeanttobeconfusedbytheir
exchangeswiththeteacher.Afteraconfusedpause,Jessemadeanotherattempt:“But
wasittoomuchwater?”whichwasansweredwith,“Yes,andtoomuchbaby.”Jesse
gaveupquestioning.Inresponsetoastudent’squestionaboutwhyshewas“horrible”
whenshesawtheocean,Gaulierexplained,“Youneedtohaveviolence,withthe
pleasuretoanswerthebeautyoftheocean.”Matt,sittingintheaudience,leanedover
toStephenandwhispered,“Howdoyoushowpleasurewithyourbody?”Hehad
learnedthatsuchaspecificquestionaboutphysicaltechniquewouldnotbedirectly
45Gaulier’suseofbrokenEnglishiswidelybelievedtobedeliberatelyaffected,apointconfirmedformebyhissonBalthazar(whowastakingthecourseatthetimeIattended),andwhodescribedhisfather’sEnglishathomeasmuchmorefluent.
163
answeredbyGaulier;thestudentsthereforeturnedtoeachotherforadvice.Gaulier’s
expressedintentioninthisstrategywastopreventstudentsfromexpectingand
receivinganswersthatwouldintellectuallyclearuptheirconfusion;hispedagogywas
experientialandpredicatedondisorientation.46
Ashiftinthistrendtookplaceonthefifthdaywhenthemovementteacher
Juan—acurrentsecond‐yearstudentatGaulierfromBarcelona—ranthemasksection
oftheworkshop,andstudentsattemptedtobreakoutofthedisorientingsetupofthe
classbyaskingmoredirectquestions.WiththescowlingGauliersafelyensconcedina
doctor’sofficemilesaway,questionsthathadbeenwhisperedbetweenstudentswere
askedoutloudtotheteacher.When,duringareviewofwater,JuantoldSarah“That
wasthirty‐threemilliliterbottledwater”(acriticisminGaulier‐speak),Sarahresponded
with,“Okay.Sonotenoughmovement?”ratherthanthemutenodoftheheadthat
wouldhavefollowedthesamecriticismofferedbyGaulier.Juanbecameawareofthe
statusdifferentialquickly,whenMattexplicitlydisagreedwithhisassessmentofIvone’s
watermovementas“alittletooartistic.”Mattjumpedin(anunimaginableinterruption
inaGaulierclassroom)with,“Butthere’snothingwrongwiththat.Itcouldbeartistic,
butifithasthemovementofwater…”Juanreplied,“IamnotPhilippe,youcan
disagreewithme.ButIhavethelastword.”WhenGaulierreturnedthefollowingday,
tracesofstudentquestioningthathaddevelopedduringoneclasswithJuancouldstill
bediscerned.Matt,havingjustbeencriticizedintypicallyopaqueyetunmistakable
46InterviewwithGaulier,November2007;thelinkto“disorientation”ismine.
164
fashion(“MattIkill.Noproblem.”)asked,“Why?”towhichhereceivedaresponsethat
answeredthequestionwithoutofferingaspecificphysicaltechniquetoemploy:
“Becausethevoicedoesn’tgothroughyourbody.”
Asimilarlyuntraditionalapproachtothequestion‐and‐answersessioncanbe
foundinGaulier’spedagogicalwritings.Gaulier’sLeGégèneur:jeuxlumièrethéâtre/
TheTormentor:lejeulighttheatre(2007)laysoutthepedagogythatinformshisschool,
alternatingbetweenpracticalexercisesandtheoreticalpassages.Thelatterare
structuredasinterviews,inwhichGauliersplitshisvoicebetweenhimselfasteacher
andtheInterrogateur,whoseitalicizedquestionsmirrorthoseposedbystudentsatthe
school,bothintheirsearchingafterclear,logicalexplanationsandintheirfrequent
abilityto(mockingly)infuriatetheteacher:
J’écoutevotrequestionsansmaliceaucun.
Pourquoi,audébutdenotreentretien,vousavez,billeentête,embrayé
surlesujetdelatragédiealorsquevotreécole,disonsvotre
enseignement,préludeavecle«jeu»?
Interrogateur,encorevousmedésarçonnez!Quiaposélapremière
question?Vous!Quelenavaitétélelibellé?Jelerépètemotàmot:‐
Quelledéfinitiondonnez‐vousd’untragédien?
[Ilistentoyourquestionwithnoillwill.
Why,atthebeginningofourinterview,didyouimmediatelygetintothe
subjectoftragedywhenteachingatyourschoolstartswithLeJeu?
165
‘Interrogator’!Youthrowmeoffcourseagain.Whoaskedthefirst
question?Youdid.Howwasitphrased?Irepeat,wordforword,‘Whatis
yourdefinitionofatragicactor?’](25&189)
TheseplayfulexchangesallowGauliertotheorizehispedagogywithinaframeworkthat
distanceshimfromthewordsheusestoexplainhismethods;hisapparentinsistenceon
literalcommunication(“Irepeat,wordforword…”)ironicallyconfusesthesubjectwhile
seemingtoinsistonclarity.Gaulierisfamouslysuspiciousoftheorizinghispractice(an
ironythatisnotlostonmeasIwritethesewords),believingthatthedrivetoanalyze
“beauty”and“pleasure”bydefinitionexcludesthepossibilityoftrulyunderstanding
theirmeanings.ThispointstoatensionthatexistsnotjustinGaulier’spedagogybutin
thatofLecoqaswell:thetensionbetweentheneedfordistancethatliesattheheartof
lejeu[theplayorthegame]ontheonehand,andtheneedtophysicallyenactexercises
inordertounderstandthepedagogy—aconceptrootedinLecoq’scontentionthat
knowledgeisgeneratedwithinthebody—ontheother.
OneoftheeffectsofGaulier’suseofvianegativawasashrinkingofphysicality
duringexercises.Mostofthestudentshadbeenpreviouslytrainedinacting,and
broughtwiththemmovementtechniquesthathadbecomehabituatedandwhichthey
thereforeeasilyfellintoonstage.Thesetendedtowardstheslightlyheightened
physicalitythattypifiesmostlatetwentieth‐centurystageacting,whichisbasedina
kindofamplifiednaturalism.Ittookonlyacoupleofroundsofbeingtoldtheywere
“horrible”forstudentstobegintoabandontheirlearnedstagephysicalities,which
166
resultedinaphysicaltentativenessthattypifiedexercisesinthefirstweek.This
tendencywassimultaneouslyencouragedbyGaulier’sharshfeedbackandcounteredby
hisexhortationstobe“big—likeagiant.”
Matt,whosemostcommonfacialexpressioninclasswasafrownandabrowso
furrowedthatheseemedtobesufferingfromachronicheadache,hadmoretensionin
hisperformancesthananyoneelse.Hewasconstantlybeing“killed”byGaulier,and
constantlymadeanextremeefforttogetit“right,”lookingmiserablewhenhewas
criticizedevenasotherstudentshadlearnedtolaughattheircritiques,whichwere
nearlyalwayspresentedasembellishedgrandioseparodies.Hisphysicalityduring
exerciseswasmarkedbyslownessandrigidity;IfeltasifIcouldreadhisthoughtson
eachmusclemovement:“Isthisright?Maybe?Howaboutthis?”Whentheexercise
wouldendhewouldhunchover,browfurrowed,breathshallow,andtakeinwhatever
criticismGaulierleveledathimwithapparentconfusionandmisery.Thiswasincontrast
tothepost‐exercisephysicalityofmostofthestudents,whichtendedtobemarkedbya
lowerleveloftensionasstudentsstoodslightlyslumped,onehipout,handonhip,feet
shuffling,awrysmileontheface,readytoreceivethepromisedlambasting—or,inthe
rarecaseofpraise,toreceiveitvery,veryhumbly(Figure5).
167
Figure5:Studentswaitingtoreceivefeedback
Matt’stensionfoundanoutletduring“Fire,”anexercisethatdemanded
considerableenergyandresultedinmultiplebruisesasourbodies,“playingfire,”
convulsedonthefloor.WhenMatt’sgroupwasuptheroomresoundedwiththumps
andrattling;Matt’sbody,lyinginatightfetalpositiononthefloor,alternatedbetween
suddenburstsofconvulsingandsmall,mutedtrembling.Studentswhowerewatching
appearedimpressed—severalofthemconversedwitheachotherandpointedatMatt.
Whentheexercisewasoverandthestudentsonstagesatwithmasksinhand,gasping
forbreath,GaulierdescribedMattas“…generous.Didhegivewiththefunoffire,or
withtherevenge—afterfiveweeks‘theywillseewhattheywillsee.’Verygenerous,but
abitrevenge.”Thisprovokedlaughterfromthegroupand,unusually,fromMatt,who
noddedinacknowledgmentofhisheartfeltattempttoimpressthegroupafterweeksof
failure.
168
Matt’sleveloftensionstoodoutincontrasttothephysicalperformancestylesof
mostotherstudentsintheclass,whounlikeMatthadhadpreviousformalacting
training.Latetwentieth‐centurymovementtrainingforactorshasbeenmarkedbyan
emphasison“freeing”thebodytomovespontaneously;manymovementexercisesare
derivedfromexperimentsinbodilymovementconductedinthe1960’sbygroups
includingTheLivingTheatrewhich,asJosephRoachhasdocumented,experimented
withfreeingthebodyfromsocializedcodesthatrestrainedmovement(218‐226).
WilhelmReich’sTheFunctionoftheOrgasm(1942)heavilyinfluencedsuch
experimentation,positingphysicalrigidity(ormovementscharacterizedbythe
mechanizationstyle)assymptomaticofneurosis(Roach219).Reich’sworkwasofgreat
interesttoearlytwentieth‐centurymimepractitioners,whowishedtomakemimeinto
anautonomousartformbasedonanexpandedrangeofphysicalmovement.Thekind
ofmovementtrainingthatmanystudentsinGaulier’sworkshophadalready
encountered,therefore,wasderivedfromtheseearlyandmid‐centurytechniquesthat
hadbeendevelopedinanattempttoreleasethebody’smusculaturefrompre‐existing
socializedhabitsinordertoallowforagreaterrangeofmovement.Improvisation,
whichallowsforspontaneity,isatthecoreofthistraining;thegoalistoletthebody
followitsownspontaneousmovementpatterns,withaslittleinterferencefromthe
mindaspossible.Sowhenstudentswithpriortheatricalmovementtraining(including
myself)enteredGaulier’sclassroom,wecarriedwithusphysicaltechniquesthatwere
easilyactivatedwhentoldto“playwater.”
169
Butthesetechniquesdidn’twork,asweallquicklylearned.AsIlayonthefloor
duringthefirstexercise,Ifeltmylimbs“naturally”respondtotheideaofmovinglike
water.Ihavealwaysthoughtofmyselfasquitea“watery”person,andasIlaydownon
thefloorandplacedthemaskovermyfaceIfeltatwingeofpridethatthefirstelement
IwouldbeabletodemonstratetoGaulierwouldbetheoneIwassogoodat.Gaulier
hadbegunthedayexplainingtousthataswebegantoexplorethemovementsof
variouselementsandotheraspectsofthenaturalworld,wewouldfindthatsomewe
weregoodat,somebad.Hehimself,whileastudentatLecoq’sschoolinthe1970s,had
apparentlybeenbadatairbutgoodatfire.Iknewbeforewebeganthatwaterwould
bemystrength.Thedrumsounded;Iwaitedforadramaticbeatbeforesoftly
undulatingmytorso,usingmyrhythmicbreathingasimpetus.Imovedontoslowly
sweepingmyarmsandlegsacrossthefloorinfluidarcs.Whenthedrumsounded
indicatingitwastimetomovetoastandingposition,Iallowedgravitytoexertitspull
onmyhead,myhipsandmyupperchestasIslowlyswayedupright.Iwasfully“inthe
water,”andwhenthedrumsoundedmarkingtheendoftheexerciseIremovedmy
maskandwaitedfortheinevitablepraise.Itnevercame.Gaulierdidn’tstopat“Ikill
Laura.”Hepausedandeyedmeclosely,thenmuttered“Horrible.Justhorrible.”
Anotherpause,ashakeofthehead,and“Horrible.Thankyougoodbye”andthedrum
soundedtheinstructiontotakeourseats.
InGaulier’sclasswequicklylearnedthatourtechniquesofperformingthe“free,”
“spontaneous”bodywerejustashabituatedasthetechniqueswehadshedinprevious
170
movementclassesinordertoachievethisfreedom.OneofthechiefeffectsofGaulier’s
hyper‐criticalpedagogy—accompaniedbyanear‐constantglareasheslumpedinhis
chair,caressingthedruminanticipationofhittingittomarkastudent’sfailure—wasto
makeapparenttousthephysicalstrategiesthatwebroughtwithustopleaseateacher
inanactingclass,strategiesthatoftenhadbecomenaturalizedthroughyearsof
corporealtraining.WhenGaulierdescribesthepedagogyofNeutralMask,hefocuseson
thismaking‐visibleofhabituatedmovementpatterns:
Ledivorceentrelesexigencesduneutreetlesanomalies(oules
singularités)danslesquellesl’étudiants’estréfugiésauteauxyeux.C’est
lemasquequilesdivulgue.
Ildévoile:lesespacesrétrécis,lesagressivité,lespeurs,leshontes.Le
professeurlessignalera.
[ThereisanobviousgapbetweenthedemandsoftheNeutralMaskand
the‘abnormalities’(orpeculiarities)underwhichthestudenthashidden
themself[sic].ItistheMaskwhichrevealstheseabnormalities.It
uncoverstheshrunkenspaces,theaggressions,thefearsandtheshame.
Theteacherpointsthesethingsout.](Gégèneur19&183)
Gaulier’sstatementthattheNeutralMask“divulges”the“anomalies”underwhichthe
studenthashiddenhimselfpointstotheshiftdiscussedearlierinthewaythebodywas
viewedintheearlytwentiethcentury,fromamachinethatcouldbecontrolled—to
virtuosiceffect—bythemindorthewill,toacalcificationofsocializedhabits;touse
171
Roach’sphrase,seeingourbodies“asdamagedbythekindsofliveswehavelived”
(218).WhatIhavetermedGaulier’s“pedagogyofdisorientation”wasanapproachto
revealingsocializedhabitsthatattemptedtobypassthehabitsoflearningthatmanyof
ushadbroughtwithustotheworkshopfromotheractortrainingexperiences(or,in
Matt’scase,fromacademicclassroomexperiences)—habitsthathadingrainedinusthe
ideathatnewwaysofengagingwithourbodiescouldbelearnedanalytically,andthe
classroomhierarchysuccessfullyengagedwiththroughlearninghowto“please”the
teacherbydeducingwhathewaslookingforandperformingit.Bothtypesofhabits—
embodied,socializedhabitsofmovementsandhabitsoflearning/performinglearningin
theclassroom—werechallengedbythemovement/textdichotomythatbecamethe
focusofmuchoftheworkshop.
Movementandtext:Competingapproaches
Attheendofthefirstweek,Gaulieraskedthestudentstoperformanexercisein
whichtheNeutralMaskwakesup,then“assistants”walkedonstagetoremove
performers’masks.Theinstructionwastospeakorsingapieceoftextwhilecontinuing
themovement.Jeanbegan,afterstandingupslowly:“WhyshouldIyokemyselfnineto
five…”Hisbodystoppedmoving;hissternumsaggedslightly.Gaulierbangedhisdrum
andbarked“No!Youarenotinthemovement.”Severalotherstudentsmadesimilar
attempts,andreceivedsimilarfeedback.BytheendofthesessionGaulierhadbegun
repeatingtherefrainthatwouldfollowusthroughtheremainingweeksofthecourse:
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“Don’tdestroythemovementwiththetext.”
Thisideaoftextdestroyingmovementbecameacentralthemethatwasdiscussed
bystudentsoutsideofclass,particularlyasstudentsstruggledtomakesenseofexactly
whatthismeant.Ageneralconsensuseventuallyemergedthattherhythmsoftextand
movementneededtobedifferent;ifthetextandthebodyweredoingthesamerhythm
thenthebodyseemedtobemerelyunderscoringthetext,whichaccordingtoGaulier
was“boringfortheaudience.”Thoseactorswhohadpreviouslytrainedinconservatory
settingsinEnglandandtheUnitedStatesfoundthisparticularlydifficulttoembody,as
traditionalmovementtraininginsuchsettingsisfocusedonmovementfollowingfrom
anddrawingontext.Colindescribedthemovementclasseshehadtakeninhishome
university’sactortrainingprogram,notingthatonthefirstdayofclasstheinstructor
hadtoldherstudents“Iwillteachyoutoembodyyourtext,”aconceptthatwas
anathematoGaulier.Colinstruggledtoconceptualizethisalternateapproachtothe
movement/textrelationshipinhisonlinejournal:
Theactorrises.Slowly."Neutral."Theyattempttosuggestnothing.
Drum beat. The actor freezes. The mask is removed. Drum beat. The
actorcontinuesmoving.
Now,theactorspeaks.Buttheactordoesnotembodythetext.Thetext
is placed on top of themovement. The text follows the impulse of the
bodyandnevershapesit.
Theactorisfocusednotonthetextbutthemovement.Theactorhasthe
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pleasuretoputthetextonthemovement.
Thereisnolifeinthetext.Thetextistext.Thelifeisintheactor…
Thereisonlylifeintheactor.Andtheactor'simpulse.Theimpulseisnot
thetext.Theactorputsthetextontheimpulse.
Colin’sdichotomybetweentextandmovement/life/impulsereinscribesadivision
betweentheintellectconnectedtotextandthebodyconnectedtomovementthat
echoesanearlytwentieth‐centuryshiftinmimepracticefromgesturalcodesthat
replicatelanguagetogestureasatransparentmediumforemotion.
WhenVictortiltedhisheaddownwardsduringanexerciseoneafternoon,Gaulier
reademotionintothegesture:“Victor,youaretoosad—higher.”Daveasked,“Howcan
yousaywe’reshowingemotionwhenourfacesarebehindthemask?”towhichGaulier
responded,“Weseethebodyisnothavingfun,goingup,ishesitating,issaying‘Oh,I’m
nothappy’…Withthequalityofyourmovementweseeeverything—whatyouwant,
whatyoudon’twant,whenyouarehappy…”Thisshiftinemotionalexpressionfrom
verbalandfacialtogesturalclues—thebody“speaks”inGaulier’squoteabove—made
thestudentsawareoftheextenttowhichgesturalcodesconveyinformationnotonly
aboutphysicalactivities(asinthemimeworkdevelopedintheearly1930sbyDecroux
andMarcelMarceau),nordogesturalcodesmerelyreplacespokenlanguage(asinthe
pantomimeblancheoftheearlytomidnineteenthcentury),butconveyinnerstates
suchasemotionaswell.Inthefirstpartofthenineteenthcenturypantomimeblanche
hadbeenassociatedwithagesturalsystemthatliterallyreplicatedspokenlanguage.
174
SkilledperformerssuchasGaspardDeburauhadbeenlaudedfortheirabilitytoconvey
specificmeaningthroughtheirgestures,atrendthatgrewoutofthesuppressionof
spokentextonthestagesofnon‐statetheatresbyNapoleonII.AsdiscussedinChapter
2,thisstyleofgesture‐as‐speechhadfallenoutoffavorbytheendofthenineteenth
centuryasemotionalexpressionbecameincreasinglysoughtafter,aphenomenonthat
wasenhancedbytheshrinkingoftheatrespacesandaudiences,removingpantomime
blanchefromthelargepublicspectaclesthathadmarkeditsemergenceandplacingit
withintherealmofeliteliterarytheatreart.Decroux,togetherwithBarrault,redefined
thequestionofgesture‐as‐speechwithinananti‐realistaesthetic,creatingwhathe
calleda“grammarofmime”(Felner56)inwhichmovementswereequatedwithparts
ofspeech.Theideabehindthis“grammar”wasnottomimespeechasintheearlydays
ofpantomimeblanche,butrathertotapintoanexpressivepowerofthebodythat
Decrouxbelievedrealism,anditsattendantrelianceupontext,concealed.InRéflexions
surlethéâtre[Reflectionsonthetheatre](1949)Barraultdescribesa“sentenceof
silence”:
I,thesubject,ismadeupofthespinalcolumnandtherespiratory
system.Itisthetorso.Itisoneself.Itisthesilhouette.Itistheattitude.
Theverbisthebeinginmovement.Itistheveryactionofthetorso.
Thecomplementiscreatedbythelimbs.Itisindication.
Thisishowmybodysaysasentenceofsilenceinspace:Subjector
attitude;verbormovement;complementofindication.(36,qtd.inFelner
175
56)
Theseexplorationsofalternatewaysforlanguagetofunctionwereincreasingly
commonintheFrenchavant‐gardemovement.InZurichDadaismwasengagedin
radicallyreworkingthesignifyingabilitiesoflanguage,whileinViennaSigmundFreud
wasarticulatinganembodiedlanguageofthesymptom,andtheoristsfromthePrague
LinguisticSchoolworkedtowardsasemioticsoftheobject,withJiriVeltruskyexploring
thetheatricalrelationshipbetweenmanandobject(1940).Whateachoftheseefforts
sharesincommonwiththeothersisaninterestinfindingnewtechniquesoflanguage
thatarenotdependentontext,inopeningtherangeofexpressivepossibilitiesbeyond
thespokenword.ThedifficultiesofsuchanundertakingwerevisibleinGaulier’s
classroomasstudentsstruggledtomakesenseofhisinstructionsnotto“killthe
movementwiththetext,”tofindwaysofspeakingtextinwhichthebody’shabituated
movementswhichunderscorethetextwereabandonedinfavorofa“movementfirst”
approach.
Thesedifficultiesextendedtotherealmof“image,”whichliketextistraditionally
associatedwithmentalcognition,andwhichthereforehadtobereconceptualizedina
classroominwhichthebody’smovementwasprioritized.Thisstrugglewasatthe
centerofaclassduringthesecondweekoftheworkshop.Matthadaskedthefirst
question,asusual,andthistimemoreandmorestudentspickeduponit,repeating
variantsoftheinquiryinanattempttogetacoherentanswerfromtheteacher:“So,I
picturewindinmyhead,andactitout?”“Youhavepleasureinplayingthewind.”“So
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mybodyimitatestheimageIhaveinmyhead?”“Youimaginewind,andyouplayit.”
ThequestionswerepersistentbecauseJuan,notGaulier,wasteachingthecoursethat
day.ThethemereferencedbyMatt,ofmentalimageandphysicalmovement,had
emergednearlyeverydayofthecourseinsomevariantofthisquestion:“ShouldIact
outtheimageinmyhead?”UsuallythequestionwasposedbyMatt;usuallyGaulier’s
answerwassomevarianton“Youtakepleasureintheplayingofthewater/the
wind/theearth/theoil/theacid.”The“imageinthehead”wasoneofavarietyof
physicalelementsandobjectsthatGaulieraskedthestudentstoplay.
Colinexploredthisthemeinhisonlineblog:
Youhavetoembodythelake/Soyoudotheexercise./Theprofessor
saysitisterrible./Heletsyoutryagain…Andthensomethinghappens
toyou.Youstopthinkingabouthowtodotheexerciseandyoubecome
awareoftheroom.Youimagineforamomentthesizeofalake,its
immensity.Yourbodystopsmovingsomuchandfeelssomehow
supportedbythisimaginedsizeandimmensity./Yourmaskisremoved./
Youaretoldtorisetoyourfeetwhilemaintainingthisquality,andspeak
atext./Soyourise,youspeak,andthissizeitstayswithyou.Andyou
feelfree.
Gaulierexplicitlytellsstudentsnotto“embody”anelement,insistingthattheactor’s
jobisnottobecomeanotherthing(“orwesendyoutothementalhospital”)buttotake
pleasurein“pretending”tobethatthing.Colin’suseoftheword“embody”hereoccurs
177
becausethissegmentoftheblogwaswrittenduringthefirstweekoftheworkshop;
Gaulier’spointhadnotyetbeenrepeatedenoughtocounteractColin’spreviousacting
traininginwhich,heexplainedtome,suchawordwascommonplace,muchas
movementwasunderstoodasinformedbytext.Gaulier’sfocus,however,wasonthe
“pleasure”ofthedistancebetweentheperformerandthatwhichwasbeingperformed:
LeMN…s’amuseàimiterl’eau,àprétendrequ’ilesteau.
…Ilestpréférabledes’amuseràprétendreplutôtqu’àêtre…
Onn’estjamaiscequ’onregarde.Toujoursunepointed’humouravertit
delasupercherie.
[TheNMenjoysimitatingthewater,pretendingitisthewater
…Itisbettertoenjoypretending,ratherthanto‘be’water…
Youareneverthethingyoulookat.Atouchofhumouralwaysreveals
thetrickeryinvolved.](Gégèneur20&184)
Thisisakeydifferencebasedontheideaoflejeuasaestheticdistance;theNeutral
Maskhere“enjoys”itsrepresentationaldistancewith“atouchofhumour”making
visiblethisnon‐identificationwiththeobjectofrepresentation.
Conclusion:Revisiting“emotion”;LeJeuasaestheticdistance
ThefollowingpassagebyGaulierrevealsbothhisalignmentwiththetwentieth‐
centuryviewofthebodyascomprisedoflayersofsocializedhabits,andhisfocusona
performativedistancemarkedbyanelusiveinnerqualityof“pleasure”or“beauty”:
178
Sileprofcorrige,rêvantdechangerlapersonnedefondencomble,ilse
fourvoie.
Leprofcorrige,songeantquepeut‐êtreundecesquatrematins,
l’étudiants’amuseradesesdésordres.
Leprofnechangerien,ilapprendàfaireavec.
Avecquoi?
Avecl’amusement.
[Iftheteachercorrectsthestudent,hopingtochangethepersoninhis
entirety,theteacherismakingabigmistake.
Theteachercorrectsthestudenthopingthat,maybeoneofthesedays,
thestudentwillhavefunwiththeir‘disorders’.
Theteacherdoesn’tchangeanythingbutratherteacheshowtousethese
things.
How?
Withenjoyment.](Gégèneur19&183)
Significantly,Gaulierdoesnotproposetodoawaywiththese“disorders”throughhis
pedagogicalmethod,buttoteachthestudentto“havefun”withthem,to“use”them
“withenjoyment.”Thiswaspartofafocusonperformingwith“pleasure”,displaying
“beauty”intheperformance,thatlayatthecoreoftheworkshop.Gaulierfrequently
usedtwowordstoconnotethequalityofmovementhewasseekinginus:“beauty”and
“pleasure.”Thesequicklybecameelidedwith“emotion”asthestudentsspentanend‐
179
of‐classquestionandanswersessionfixatingonthisquestionofwhatonewas
supposedtobe“feeling”:
Student:Areyousupposedtoshowemotionorfeelitinside?
Gaulier:Youdon’tneedtoshowemotion,justhavethemoment,fixed…
Emotionisyouinfrontoftheaudience,butnotyouwithanemotion.
Student:Butdoyoufeelanemotion?
Gaulier:No.Youpretendtofeelemotioninfrontoftheaudience.You
areamagicianwithyourfeelings.Ifyouarepresentingyouremotions,
youcan’tbefreeandplay.
Thisideaof“freedom”linkedtolejeuresonateswiththeideaoffreedomfrom
socializedembodiedhabitsthatmarkedthemimeexplorationsofsuchpractitionersas
Copeauintheearlytwentiethcentury;Gaulier’sdeploymentoftheconcept,however,
associatesitnotwithafreedomfromparticularhabitsofmovement,butafreedom
fromasupposedinjunctiontoperform“real”emotionsonstage.Emotionhereis
devalued,replacedbyanelusiveideaof“beauty”whichGaulierinterestingly(givenhis
apparentdisdainfortheintellectinhistext/movementdichotomy)locatedwithinthe
head:
Gaulier:Ifhere[pointstohead]everythingisbeautiful,youcan’tchange.
Youcan’t…It’sdelicatehere[pointstohead].Ifyouopen,youhaveto
carryonthedreamofwhatyou’veopened…Inyourhead,something
hastobebeautiful.Yourheadhastobefullofbeauty.
180
Gaulier’sgestureofpointingtotheheadwhenhespokeofbeautyreferred,he
latertoldmeinaninterview,tohiscentralpointoftheperformerdistancingherself
fromhercharacter;byapproachingeverythingfromaperspectiveofpleasurable
detachment,theperformercanplaywithwhateverispresentedonstage.Yetatthis
earlystageoftheworkshop,whenstudents—eventhosewhohadbeenpresentforthe
LeJeu[Play]workshop—werestillstrugglingtomakesenseofhiscentraltenets,the
actionofpointingtotheheadwhilemakingpoeticbutsemi‐incoherentstatements
aboutbeautyservedtodirectconfusedstudentstowardsaconventionalideaoftrying
topinpointthelocusofemotion,aconfusionillustratedbythestorythatopenedthis
chapterofstudentsattemptingtodecipherthequestionofwhethertheperformer
engagedinNeutralMaskpracticeismeantto“feel”emotion.Thisfocusontheheadled
topost‐classconversationsthatstruggledtomakesenseofGaulier’sconfusing
responses,revolvingaroundanincreasingcertaintythatGauliermeanteverythingour
bodiesdidtooriginateinthemind.Rita,apsychologistfromGreece,statedwith
confidencethatweweremeantto“feelit[emotion]inyourbrain.Youhaveimagesofit
inyourbrain,andyougivethesetotheaudience.”RitahadlinkedGaulier’sdiscussion
ofbeautyintheheadwithbothemotionandimages,twoconceptswithwhichstudents
struggled,astheyseemedtodrawattentionawayfromthebody.
Gaulier’spedagogicalfocusonlejeuservedtoemphasizethisdistinctionbetween
mindandbody,orthepersonaoftheperformer(situatedinthemind)andthe
performed(thebody).Attheheartoflejeu,forGaulier,isthepleasureonetakesin
181
lyingtotheaudience.Thisapparentdeceptionismitigatedbyakeyrequirement:the
audiencemustbeabletoknowthattheperformerislying,mustbeabletosensethe
pleasuretheperformertakesinthisgame.DuringtheLeJeu[Play]workshopGaulier
hadintroducedanexercisethatwasrepeatedbyJuanintheNeutralMaskworkshop
(muchtotheconfusionofstudentssuchasmyselfwhohadnotbeenpresentforLeJeu):
thegameofdancingcouples.Allstudentsstandonthestage,andpickapartner.The
teacherpushes“play”onaCDplayer,musicfillstheroom,andthecouplesdance
together.Wheneveranyonebecomes“bored”withtheirpartner,theywinkatthe
teacherwhostopsthemusicandbeginsaskingindividualstudents,“Wasityouwho
winked?”WhenIfirstplayedthisgameIwasnotgiventhekeyinstructionbeforehand
thatthestudentwhoisaskedthisquestionismeanttodenythatheorshewinked,
takinggreatpleasureintheactofdenial:
…chacundoitdireàl’autrequecen’estpasluiquiaclignédel’œil
(surtoutsic’estlui).Toutlemondes’amuseàmentir.
[…everyonemustsaytotheirpartnerthatitwasn’tthemwhowinked
(especiallyifitwasactuallythem!).Everyoneloveslying.](Gaulier
Gégèneur37&201)
Ignorantofthisrule,whenJuan(whowasrunningclassthatday)accusedmeof
winking,Imadeaheartfeltprotest,genuinelytryingtoreassuremypartner,Jesse,thatI
hadnotwinked,thatIwasnotboredwithhim,thatIhadtrulybeenenjoyingourdance.
Jessesmiled,leanedoverandwhispered,“You’resupposedtoenjoysayingthatyou
182
didn’twink,”whichconfusedmeevenfurther.Juan,realizingIwasn’tplayingthegame
butwasinsteadresponding“earnestly”(aqualityhumorouslyascribedtoAmericansby
theBritishstudentsintheworkshop),turnedhisattentiontoanotherstudentandIwas
abletoobservethestyleofperformanceweweremeanttogive.Sheopenedhereyes
wide,laidheroutstretchedpalmonherchest,shookherheadslowlyfromsidetoside
inexaggeratedmock‐innocenceandsaidinasing‐songvoice,“Me?No,Juan,I
absolutelydidnotwink!IlovedancingwithIvone!Ineverwouldhavewinked!”This
game,Icametolearn,illustratedakeypointforGaulier:thatactorsarealwaysengaged
indeception,andthatthegame,lejeu,istoallowtheaudiencetoparticipateinthefun
ofthatperceptionthrougha(usuallymetaphorical)“wink”:
Voixdesacteurségalecelledesmenteurs.Elleenalesinflexions,les
modulations,lestonalitésquiseperchentuntantinetverslesaigus.Elle
n’estpasnaturellepourunrond.
Quandlavoixestnaturelleçacloche.Lejeun’estpaslaréalité.Ilenestla
répétitiongénérale,«pourdufaux».
[Actors’voicesequalliars’voices.Theyhaveinflections,modulations,
tonalitieswhichveerslightlytowardsthehigh‐pitched.Theyarenot
natural.
Whenthevoiceisnaturalitsoundswrong.Thegameisnotreality.Itisits
dressrehearsal,‘forpretend.’](GaulierGégèneur37&201)
Onceagain,Gaulierwarnsagainstthecollapsingofthedistancebetweenperformerand
183
thatwhichisbeingperformed;emotionsshouldnotbe“real”onstage;the“natural”is
“wrong”.WhenGaulierrespondstoastudent’squestionaboutwhethertheactor
shouldactuallyfeeltheemotionheorsheisplayingwithavehement“Youdonotfeel
theemotion,youtakepleasureinpretendingtofeelemotion,”ashiftcanbediscerned
betweenearlytwentieth‐centurymimepractitioners’questforsincerityandan
embracing,followingRoach,oftheactor’s“professionalisationoftwo‐facedness”(137).
WhenLecoqbegantoconceptualizelejeu,theexistingrhetoricof“play”wasfoundin
CopeauandMeyerhold,whobothencouragedanopennesstoexplorationwithina
theatricalmoment(MurrayLecoq65).Additionally,BertoldBrecht’sconceptof
Verfremdungseffekthadfundamentallychallengedprevailingnotionsoftheatrical
sincerity,callingintoquestiontheactor’sprocessofidentificationwiththecharacter.
TheconceptoflejeudevelopedbyLecoqandadaptedbyGaulierwassimilartothe
Verfremdungseffektinallowingtheaudiencetoseethedistancebetweenperformer
andcharacter,butdivergedfromBrecht’sconceptinfocusingonthepleasureatthe
heartofplaying.
AcommonanalogyusedbybothLecoqandGaulieristhatofthepleasurethe
childtakesinplaying,whichinvolvesafullcommitmenttothegame,alwaysinflectedby
acleardistancebetweenthechildandwhatheorsheispretending:
Quandonjouaitauxcow‐boysetauxIndiens,àd’Artagnan,àlaguerre
aveclessoldatsdeplomb,onneressentaitpasdessentiments.On
s’amusaitavecl’histoire,avecleshéros,lesprotagonistes.Toutétaitfiltré
184
autraversdu«jeu»quilaissepasseruneréalitédéjàtransmutée,celle
dontonaenlevélepoidsdesdouleurs(«Pourdufaux»ditmonfils
Samuelenparlantdelaréalitéaveclaquelleils’amuseet«Pourduvrai»
parlantdel’autre).
[WhenweplayedatcowboysandIndians,orbeingd’Artagnan,orhad
battleswithleadsoldiers,wedidn’thavefeelings.Weenjoyedthestory
anditsheroesandprotagonists.Everythingwasfilteredthroughthe
‘Game’whichallowedatransmutedrealitytopass,arealitywithoutthe
weightofsorrows.(‘Notforreal,’mysonSamuelwouldsay,whentalking
abouttherealityhewashavingfunwith,or“Forreal’,whentalkingof
theotherone).](GaulierGégèneur32&196,emphasisadded)
Gaulier’sassertionthatwhenplaying“wedidn’thavefeelings”revealsthestatusofthe
“we”asthedistancedpersonaoftheperformer,whilethe“feelings”areunderstoodto
resideinthebodiesthatperformedthecharacters.Intheclassroomstudents’confusion
wasrootedinpartintheirlinkingofemotionalitytothenaturalthatstudentsbrought
withthemtotheworkshop,whichhitupagainstanapparently‐mechanical,because
lackingmarkersofpastorpersonality,NeutralMask.Thismaskformseemingly‐
paradoxicallyrequiredadistinctseparationbetweenperformer(identifiedwith
cognition,thefaceandthefalsepersona)andperformed(identifiedwiththebodyand
trueexpressivity).Theseemingparadoxformoststudentswasthattheybroughtwith
themideasofexpressivityasexpressionsofemotionsandideasthatemanatedfrom
185
theirconsciousideaofthemselves—whatPierreJanet,discussedinChapter2,called
“l’idéedumoi”[theideaofme].Intheclassroom,theideaof“playing”emotionbecame
amajorsticking‐pointformanyofthestudents,atopicthatwasrevisitedfrequently
throughoutthethreeweeksoftheworkshop.ToGaulier’sstatement“Emotionisyouin
frontoftheaudience,butnotyouwithanemotion,”astudentrespondedwith“Butdo
youfeelanemotion?”asotherstudentslookedoninconfusion.Havingestablishedthe
needfordistancefromfeelinganemotion,fortakingpleasureinpretendingtohavethe
emotionfortheaudience,anotherstudentrespondedwith“Butdeceptionisan
emotionaswell.”Gaulierdistinguishedbetweendeceptionandthe“pleasure”hewas
attemptingtodescribe:“Bigemotion.Butnotoneforfun.”Theslipperydistinction
betweenthedetachmentof“fun”thatGauliertaughtanddeceptionwasarticulated
throughalanguageofpresence:theperformerwasnottoattempttoactivelydeceive
theaudience,buttoalwaysmaintainadetachmentthatallowedtheaudiencetosee
theperformer’sselfunderneaththemaskofthecharacter,takingpleasurein
performing.Thedifficultiesinherentinapedagogyfocusedaroundtheperformer’s
“authentic”presencewereforegroundedsevenmonthslaterinGaulier’sClown
WorkshopinJune2008,whenaconfusedstudenttriedtoarticulatethedifficultieshe
hadbeenhavingin“beinghimself”onstage,askinghowhecouldknowhewasbeing
himselfwhenhisownjudgmentcouldn’tbetrusted.Hisquestiondistilledthemesof
sincerity,authenticityandthe“trueself”thatpermeateclownworkandwhoseroots,
likethoseofmechanizationandneutrality,canbetracedbackthroughnineteenth‐and
186
earlytwentieth‐centuryFrenchmimetradition;themesthataretakenupinthe
followingchapter.
187
Chapter4LocatingtheSelf:
NarrativesandPracticesofAuthenticityinFrenchClownTraining47
Debelleschosesdébutentaupaysdesmauvais.Beautifulthingsbegininthelandofthebad.48
PhilippeGaulier(Gégèneur129&289)
Thedrumbeatcomeswithnowarning.Gaulier’sreputationisthatofthemean
clown,theteacherwhosepedagogicaltechniquesinvolvethrowingstudentsupon
stagewithminimalinstructions,gloweringatthem,andiftheyfailtobe“beautiful,”
sendingthemoffstageunceremoniouslywiththebangofadrumandagruff“Thankyou
forthathorriblemoment.Goodbye.”Thefour‐weekClownworkshopisgrueling;after
thetenthtimehearinginelaboratedetailhow“shit”one’sperformanceis,
accompaniedbyasuggestionfor“howwekillyou”(Gaulier’sfavoritephrasefor
conveyingdisapproval),eventhemostresilientperformerfaces—significantlyfor
Gaulier’spedagogy—acrisisofego.
Thischapterexploresclownpedagogyasindialoguewiththeideaofthe
“authentic”or“true”self,takingasitsstartingpointtheclownworkshopattheÉcole
PhilippeGaulierinJune2008inwhichIwasaparticipant‐researcher.49Asdescribedin
47 AneditedversionofthischapterwillbepublishedinanupcomingeditionofthejournalTheatre,DanceandPerformanceTraining(Routledge).48GaulierwroteLeGégèneur:jeuxlumièrethéâtre/TheTormentor:lejeulighttheatre(2007)inbothFrenchandEnglish;thefirsthalfofthebookisinFrench,andthesecondhalfishisEnglishtranslation.AllsubsequentquotesfromthebookinthischapterincludebothhisFrenchandEnglishversions.49TheworkshoptookplaceattheÉcolePhilippeGaulierinSceaux,France,forfourweeksinJune2008.Iattendedtheworkshopbothasaparticipantandasaresearcher;myobservationsaredrawnfromdirectexperienceintheclassroomandinterviewswithstudentsandPhilippeGaulier.
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Chapter1,Iuse“authentic”or“true”selftomeantheideaofapre‐socializedidentity
thatlies“behind”socializedhabitsofthoughtandmovement.InLecoq‐basedclown
training,studentsareencouragedto“discover”theirpersonalclown,generally
identifiedintheclassroomandinwritings(includingLecoq1997,Fusetti1999and
Gaulier2007)asthestudent’s“true”self,positionedagainstthefalsityofsocialized
habitsofthoughtandmovementthatperformapersonawhichobscuresthe“true”self
thatliesbehindit.Withinthistraining,Iargue,aconstructofthe“authenticself”exists
alongsidetechniquesthatdisruptconventionalnotionsofstable,linearidentity.These
techniques—groundedinastrategyofdisorientation—relocateconsciousnessto
embodiedprocessesthatcanbeexternallyreadbyspectators,andpromoteamoment‐
to‐momentawarenessofthestudent’scontinually‐shiftingperformance.Takingupthe
waysinwhichideasoftheauthenticselfintersectedwiththeFrenchmimetraditionin
thelatenineteenthandearlytwentiethcenturies,Iexaminehowsuchnotionscontinue
toberevealedwithinthecontemporaryclownclassroom.50Specifically,Ilookathow
thepedagogicallanguageusedbyGaulierandthedescriptivelanguageofstudents
discursivelyreinscribetheideaofastable,unifiedself,whileGaulier’sdescriptionsofhis
pedagogyaswellasspecificclassroompracticessimultaneouslydisruptit.By
juxtaposinganddrawingconnectionsbetweenanoldermimetraditionandacurrent
50AsmentionedinChapter2:“PhilippeGaulierstronglydisavowsanyconnectiontothemimetradition;hisschoolisnotconsidereda‘mimeschool’,althoughthemaskformsheteachesaredrawnfromJacquesLecoq’spedagogywhichwasheavilyinfluencedbyFrenchmime.TheconnectionsIdrawbetweentheFrenchmimetraditionandGaulier’spedagogyarethereforenottechnical,butideological”(2).
189
pedagogicalincarnation,Iwishtohighlightthewaysinwhichtheideaoftheselfhas
beenandcontinuestobecontested,alteredandredefinedwithinaspecificsiteof
performertraining.
Inwhatfollows,IfirstoutlinetheconnectionofLecoq‐basedclownpracticewith
theideaofthe“true”or“authentic”self,positionedbyLecoqattheoppositeendofthe
spectrumfromtheNeutralMaskwhichlackspersonalidiosyncrasy.Ithenproposethat
thedominantcodeinGaulier’sclassroomwasthedistinctionbetweensuccessand
failure,inwhichGaulierdeliberatelystructuredexercisesintheClownworkshopto
promotefailure,causingstudentstodirectlyexperiencetheperpetually‐failingstateof
clown.Icomplicatetheconnectionbetweenclownandthe“authentic”selfby
suggestingthatGaulier’sinterestlaynotwithevokingthestudent’sinnerself,butwith
encouragingamorenebuloussenseof“beauty”or“pleasure”;despitethis,however,
languageofauthenticitystillcreptintotheclassroomasbothstudentsandteacher
linkedbeautyandpleasurewith“beingoneself”.Ithenturntoanexaminationoflate
nineteenth‐andearlytwentieth‐centurymimepracticesthatrepositionedthetrueself
asboth“beneath”theconsciousself,asinFreudianpsychoanalysis,andasexternalto
theperformer,asinpracticesthatencouragedtheperformertovalidatethesincerityof
theirperformanceusingmirrors.IarguethatGaulierdisruptstheideaofdirectaccessto
aninnerselfthroughhisuseoftechniquesofdisorientationproducedbyconstant
failure,producing“spontaneous”reactionsfromstudents.Ireturntolatenineteenth‐
andearlytwentieth‐centuryFrenchmimepracticetointerrogatethisideaof
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spontaneityanditslinkedconceptionofsincerity,whichinLecoq‐basedpedagogy,I
argue,istiedtotheideaoflejeu[theplayorthegame]andGaulier’sideaofembracing
the“flop.”Thisbringsmebacktotheclassroom,whereIanalyzeatechniqueinwhich
studentsareencouragedtorecounttheirflopsinordertomakevisibletheir“authentic”
selvestospectators.Ithenanalyzethelanguageandembodiedmovementsthat
surroundattemptstoarticulatethis“authentic”self,whichrevealadifficultyinclearly
locatingordescribingit.Iconcludebysuggestingthatthis“authentic”selfispositioned
inGaulier’sclassroomasnotclearlyaccessibleorrecognizable,butasnegotiated
externallyinthespacebetweenperformerandspectator,accessedonlyinmomentsof
disorientation.Iproposethatwhilethispositioningoftheselfdoesnotfullyescape
logocentrism(asitreinscribesideasofauthenticity),Ibelievethereisapedagogical
valueinamomentarydisorientingexperienceofaselfoutsideofcleardefinitionsand
recognizablepatterns,anexperiencethatresistscollapsingthemomentintoasingular
ideaof“self.”
OneimportantpointtonoteisthatGaulier’sportrayaloftheauthoritarianteacher
operatedontwolevels:theleveloftheperformedrole,inwhichhe“played”theroleof
theterrifyinglystrictteacher,oftentothedelightofthestudentswhenhelaunchedinto
anelaboratelyridiculouscritique;andthelevelof“actual”teacher(atrickydistinction,
butforthepurposesofthisargumentImeanthewaysinwhichhisrolefunctionedasa
teacherinthemoreconventionalsense),inwhichstudentsgenuinelylookedtohimfor
cuesonhowtoperformandhowtorespondtoothers’performances.Oftenthesetwo
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levelsoverlapped,as,forexample,whenstudentsquicklylearnedtoagreewith
Gaulier’sassessmentofastudent’sperformance,whetheritwas“beautiful”or
“horrible”.Ontheleveloftheperformedrole,studentswereplayingbumblingfoolsin
relationshiptoGaulier’sroleofcomically‐authoritarianteacher.Onthelevelof“actual”
teacher,studentslearnedlessonsfromGaulier’sresponsesaboutthenatureof
vulnerability,beauty,andasuccessfulperformanceofone’s“trueself”inGaulier’s
pedagogy.ThislatterlevelraisestheissueofhowGaulierdrewdistinctionsbetween
performancesthatwere“beautiful”andthosethatwerenot.LaterinthischapterI
discusstheconfusionthataroseamongstudentswhoinitiallybelievetheywerebeing
beautiful,vulnerable,“themselves”onstage,onlytobetoldotherwise.Thisleavesopen
thequestionsofwhethermarkersofvulnerability(andthereby,inthispedagogy,
“authenticity”)canbedifferentacrossgeography,gender,ethnicity,andwhetherthese
markerscanthereforebemisread,particularlywhenthestandardforreadingthem
residedinonewhiteFrenchman.Theanswer,Iwouldargue,tobothquestionsisyes;
vulnerabilityanditscorrelateauthenticityweredefinedand“read”inparticularwaysin
Gaulier’sclassroombasedonGaulier’sstandards,andIdonotwishtosuggestinthis
chapterthatwhenstudentssuccessfullyperformedthesestatesthattheyhadtapped
intoatranscendentcategoryofauthenticity.Rather,Iinterrogatethewaysinwhichthis
particularideaofauthenticityemergedwithintheFrenchmimetraditionandwas
deployedinGaulier’sclassroom,andsuggestpossiblepositiveeffectsthatmightarise
fromsuchanexperience.
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Clown:Theactor’strueself
OnthefirstdayoftheNeutralMaskworkshop,asdiscussedinChapter3,Philippe
GaulieremphasizedtheNeutralMask’slackofphysicalorpersonalhistory:“TheNeutral
Maskdoesnothaveproblem.Hewakesup,hestand[sic]up,hewasnotdrunk
yesterday.”ThephysicalityoftheNeutralMaskisoneofperfectbalance,thebody
preciselyaligned,notwistingorslumpingtoindicateabodilyhistory.Attheopposite
endofthespectruminLecoq‐basedpedagogyisClown:themostpersonal,idiosyncratic
ofthemaskforms.WhileClownisnotasreadilyidentifiableasamaskformasits
counterparts—Neutral,LarvalandExpressiveMasks—whichcovertheentireface,Lecoq
consideredthesmallrednosethatthestudentdons“thesmallestmaskintheworld”
(GaulierGégèneur293),onethatallowsahighlevelofvulnerability:“Quandl’acteur
entreenscèneporteurdesonpetitnezrouge,sonvisageprésenteunétatde
disponibilitésansdéfense”[Whentheactorenterswearinghislittlerednose,hisface
presentsastateofavailabilitywithoutdefense](LecoqCorps154).
ThepointofthisvulnerabilityistoexposewhatclownteachersincludingGaulier
andGiovanniFusettirefertoasthestudent’s“trueself”aselfthatlies“beneath”the
layersofpersonabuiltupoveralifetimeoflearningbehaviorsthathelponefunctionas
anapparentlycompetentmemberofsociety.Atthecoreofthispedagogyisthe
assertionthateveryoneisaclownatheart,meaningeveryoneisconstantlyinastateof
onlyprecariouslymaintainingthesemblanceofcompetence.AccordingtoJacques
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LecoqandclownteachersincludingPierreByland,JohnWright,AngeladeCastro,
GiovanniFusettiandPhilippeGaulierwhocontinuetopracticeanddevelophisclown
pedagogy,eachpersonismostlovablewhenwecanseethemintheirmostvulnerable
state,thestateofclown.
Successandfailureintheclassroom
Aswithmyparticipant‐observerresearchintheNeutralMaskWorkshop,for
Gaulier’sClownWorkshopIfocusedonthemostsalientlanguageandmovement
patternsthatemergedwithintheclassroomandininterviewswithstudents,and
compilednotesbasedonobservationsofthephysicalbehaviors,socialinteractionsand
spokenwordsthatmostfrequentlyaccompaniedthesecodesinordertoanalyzewhat
washappeningintheclassroomthroughphysicalaswellasverbalevidence.The
dominantcodewithintheclownworkshopwasthedistinctionbetweensuccessand
failure.Gaulierstructuredhisclassroomasaparodyofatraditionalclassroom.He
playedtheroleoftheterrifyinglyauthoritarianteacher,positioningstudentsas
fumblingfools(clowns)continuallyfailing.Oneirony—intentional,accordingto
Gaulier—wasthatthestudentswerenotperformingtheserolesfromadistance,they
actuallyexperiencedthemselvesasfumblingfoolsdesperatelytryingtopleasethe
teacher.Theintensivefocusonredefiningsuccessandfailureintheclownclassroomis
predicatedonGaulier’sbeliefthattraditionalclassroomsdisciplinethestudent’sbody
toperforminarigidlycodifiedmanner,therebycalcifyingthepersonaintoasetof
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approvedbehaviors.Theactoffailure,accordingtoGaulier,createsaruptureorabreak
inthispersona,revealingtheclown—thestudent’s“trueself”—within.Gaulier
thereforestructuresclassroomexercisestoencouragestudentstofailasoftenas
possible.
Theinevitableparadoxthatiscreatedbysuchanapproachisthatstudentsquickly
learnthattosucceedinthecoursetheymustfailinawaythatispleasingtothe
teacher.Thiswasatrickyproposition,however,asGaulierwasextremelyinconsistent
withhisexpressionsofapproval,bothacrossbehaviorsandacrossstudents.Astudent
couldperformanactionduringanexercisethatwouldbemetwith“Ah,beautiful,”only
tobetoldshewas“Horrible”thenexttimesheperformedthesameaction.Similarly,
rarelydidonestudentconsistentlyreceivepositivefeedback;whileoneortwostudents
couldbesaidtobe“doingwell”intheworkshop,thiswasmeantgenerally,andatthe
firstsignofastudentbecomingoverly‐confidentGaulierwouldshootthemdown.This
wasdemonstratedpowerfullyonthefinaldayoftheworkshopwhenstudentswere
invitedtoperformeithernewpiecesorpiecestheyhaddevelopedduringtheworkshop.
Threewomenstooduptoperformapiecethathadmetwithhilarityandunanimous
approvalearlierintheweek.Theyranontothestagetotheintroductorymusic
beaming,smilingandleaping.Gaulierimmediatelystoppedthem,callingthem“horrible
girlscoutsoncrack,”thenbangedhisdrumandorderedthemtoleavethestage.Their
despairatnotbeingabletoperformthepiecetheyhadpreparedledtotears,andafter
twohoursofotherstudentsperformingGaulierinvitedthemtoperformtheirpiece
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again,thistimethroughtheirtears.Theywerebarelyabletogetthroughthepiece,yet
theirperformancewaswell‐receivedbybothstudentsandteacher,whodescribedtheir
tear‐streakedfacesas“beautiful.”Gaulierlaterexplainedthatthestudentshadseemed
tooconfidentintheirinitialattempt;byforcingthemtofailinahumiliatingway,hehad
shatteredtheirconfidentpersonasandopenedthemuptoperformingtheirvulnerable
clowns.
Amajorshiftthatoccurredduringthefourweeksoftheworkshopwasthe
lesseningofstudentquestionsthatinvolvedthefollowingphrases:“…supposedto…”
“youliked”/”youdidn’tlike”,“wasthisgood”/”wasthisbad”,“shouldIhave…”.These
phrasesneverdiedoutcompletely,yetincreasinglystudentslearnedthatthe
appropriateresponsetoGaulier’sexpresseddisapprovalwasaquicknodofthehead
andsilence.Forsomestudents,thisshiftexpressedaletting‐gooftheneedtogetthings
right;failurebecamesoroutinethatitcouldbeshruggedoff.Forafewstudents,
however,thissilenceexpressedfrustration,andwasnearlyalwaysaccompaniedbya
clenchedjawandlaboredbreathing.
Paradoxically,andperhapsinevitably,thereexistedacodeofbehaviorwithinthe
classroomthatwas“correct,”acodethatstudentsquicklylearned.Thisinvolvedalways
agreeingwithGaulier’sopinionsonotherstudents’performances,andsubmitting
whollytohisassessmentofone’sownperformance.Onlyoneopinionexistedwithinthe
classroom:Gaulier’s.Thelongerstudentshadbeenintheschool,themorefrequently
theirdescriptionsoftheworkwaspepperedwithkeyGaulierwordssuchas“beautiful,”
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“vulnerable,”“boring”and“horrible.”StudentswhoIinterviewedduringtheclown
workshopwhohadbeenintheschooltheentireyearusedthesewordsthemost
frequently,andconsistentlyquotedGaulierevenwhenaskedfortheirownopinionsof
whathappenedwithintheclassroom.ThiswasincontrasttostudentsforwhomClown
wastheirfirstworkshop,whofocusedmoreoncontrastingGaulier’smethodstoother
trainingtheyhadreceived.Thefactthatthesestudentswereenteringacommunitythat
hadbeenformingforninemonthsgavethemadditionaloutsiderstatus,asmanyofthe
classroomcommunity’sbehaviorsandwordsthathadbecomenormativewerevisible
toanewcomer,incontrasttotheexperienceofstudentsduringthefirstcoupleof
monthsoftheschoolyearwhowerealllearningtherulestogether(andthereforethis
accumulationprocesswasmoreinvisibletothoseinthemidstofit).WhileGaulier’s
structuringoftheclassroomaroundfailuredisorientedstudentsandforcedthemto
performtheirstudentrolesdifferently,therefore,anewroleof“Gaulierstudent”
tendedtoformoverthecourseofseveralworkshops,indicatingalesseningofthe
disorientationeffect.Fortheclownworkshopspecifically,however,theideaofthe
“trueself”thatwas“beautiful”andemergedduringmomentsofextremevulnerability
wasanewoneevenforthosestudentswhohadbeenatGaulier’sschoolfortheentire
year,andthereforeGaulierwasabletousetechniquesofdisorientationtohelp
studentsengagewiththisexperience.
Classroomre‐structuring
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ThecentralruleinGaulier’sclownclassroomisthattheclownisonewho
provokesgenuinelaughterfromtheaudience.Thetestofastudent’seffectivenesson
stageisquitesimplywhethertheaudienceislaughing.Onemajorchangethatmust
occurintheclassroominorderforstudentstorepeatedlyfailatbeingfunnyisre‐
trainingotherstudentsnottogivewhatFusetticallslaughterthatissympathique—
laughtermeanttoencourageastrugglingstudent.51Thischangeisparticularlydifficult,
basedonmyexperienceandobservations,forAmericans,whosepedagogicalculture
tendstowardthesympathiqueinwhichpraiseandconstructivecriticismarevalued.
DuringaclownworkshopinMinneapolisin2004,JonFerguson—aBritishclownteacher
trainedintheLecoqtraditionasdevelopedbyJohnWright—conductedanexercisein
whichastudentleavestheroomandtheteacherdemonstrates,silently,asimple
sequenceofactions,suchaswalkingupstage,pickingupachair,placingitcenterstage,
andfoldinghisarms.Thestudentisinvitedbackintotheroomwheretheotherstudents
sitquietly;thepointisforthestudent—nowtheperformer—toenactthisexact
sequenceofevents,hisonlycluebeingtheapplausehereceivesifheisdoingtheright
thing.Ifhewalksupstagetowardsthechair,theotherstudentsapplaud;ifheturnsback
downstagebeforereachingthechair,theapplausestops.Thepointoftheexerciseisto
teachstudentstoattunethemselvestotheaudience’sreactions,astheclownalways
triestopleasetheaudience.Duringtheexercise,itbecameclearthatthestudents
wantedtheperformertodotherightsequenceofactions:whenhepickedupthechair
51Fromworkshopnotes:“AClown’sLife”workshopconductedbyGiovanniFusettiinBoulder,CO,October2007.
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atthecorrecttime,theapplausewasaccompaniedbysoftcheering;whenheputit
backdowninthewrongspace,smallsadgroansfilledtheroom.Whenhehad
completedthesequenceandfoldedhisarms,theroomburstintocheersandapplause;
whenthenoisehaddieddownJonstoodquietlyforamoment,shookhishead,andsaid
“That’ssomethingIloveaboutteachingthisworkintheStates—theaudiencesareso
generous,youwanteachothertosucceed.It’smuchmeanerinEnglandandFrance.”
WhileitisperhapstruethatinmostcasesBritishandFrenchstudentsare
accustomedtoalessovertlyencouragingstyleoftheatricalpedagogythantheirU.S.
counterparts,thedesiretoencourageandhelpoutfellowstudentsneverthelesshadto
beactivelysuppressedinGaulier’sclassroom,whichwascomposedofstudentsfrom
France,Spain,Brazil,Australia,NewZealand,China,Japan,EnglandandtheU.S.(the
lattercontingentwastiny,consistingonlyofmyselfandoneotherAmericanstudent,a
paucityattributedbyotherstudentstothedifficultymanyAmericansfindinadaptingto
aharshpedagogicalstylesuchasGaulier’s).Gaulierachievedthisshiftthroughavariety
oftechniquesembeddedintothestructuringoftheworkshops,beginningwiththedaily
warm‐upgame“BalthazarSays,”avariationon“SimonSays”inwhichGaulierbanged
hishanddrumandshoutedaquicksequenceofinstructionssuchas“walk,”“run,”
“stop”and“jump”which,ifnotprecededby“Balthazarsays,”qualifiedthestudentfor
corporalpunishment(usuallyhavingthearmtwistedbehindtheback,thethumb
presseddownandthebackpinched).Studentswereencouragedtotakepleasurein
noticingwhentheirfriendshadmessedupandin“denouncing”themtotheteacher;
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thedenouncedstudentcouldthenonlyavoidpunishmentbysuccessfullyaskingfor
kissesfromotherstudentswho,again,wereencouragedtotakepleasureindenyingthe
request.BythetimeIjoinedtheworkshopinNeutralMaskthisgamewaswell‐
establishedandmarkedbylaughter,evenfromstudentssubjectedtopunishment.
Beingsingledoutforpunishmentbecameasignofaffectionintheclassroom,andthe
mockoutrageshownbystudentsdenouncedbytheirpeerswasgiventheliebythe
laughterthatalmostinevitablyaccompaniedit.Studentswhojoinedtheworkshops
laterintheyear,includingmyself,quicklylearnednottotakethegameseriously,and
thatdenouncementwasaformofexpressedaffection.
Moredifficultwassuppressingtheurgetolaughsympatheticallywhenastudent
wasflailingonstage;sittingsilentlywithastonyface—themodeweweretaughtto
adopt—wasexcruciatingformanyofusastensionwouldbuildthroughastudent’s
failedattemptstopleaseus.Gauliermodeledtheroleofaudiencememberforus,
glaringatstudentsonstagewithaslightfrownunlesstheydidsomethingthatprompted
spontaneouslaughter(arareoccurrence).Gaulierdefined“spontaneous”laughteras
uncontrolledlaughter,laughterthateruptedoutofuswithoutpremeditationordesire
topleasetheperformer.Hisdefinitionresonateswiththelatenineteenth‐centuryidea
ofautomatisme,particularlythelinkingofautomatismeand“truth”asexploredin
Chapter2,inwhichanon‐consciousbodilyactionistakentobemore“authentic”thana
consciousone.Thisextendedthelessonofauthenticitytospectatorsaswellas
performers,asthe“correct”performanceofaspectatorintheclassroomwasasopen
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andspontaneousasthevulnerablemomentsoftheperformer.Gaulierexpectedusas
spectatorstoresistperforminginhabitualways,specificallylaughingstrategicallyin
ordertosupportorencouragethepersononstage.
Re‐framingfailure
PhilippeGaulier’scareerasaclownteacherbeganattheÉcoleJacquesLecoqin
Pariswherehetaughtbetween1976‐80,helpingtodeveloptheschool’sclown
pedagogy.Inhis1997bookLeCorpspoétique:unenseignementdelacréationthéâtrale
[translatedbyDavidBradbyin2000asTheMovingBody:TeachingCreativeTheatre]
JacquesLecoqdescribestheappearanceofclowninhisschoolinthe1960swhenhe
exploredtheconnectionsbetweentheCommediadell’Arteandcircusclowns.The
Medranocircushadclosedin1963,leavingtheCirqued’Hivertheonlycircusremaining
fromthenineteenth‐centuryexplosionofParisiancircuses(FusettiCommencement10).
Themultiplefiguresofthe“clown”asdefinedbyTristanRémyinhisseminal1945book
LesClownslikelyinfluencedLecoq,particularlythefigureoftheAuguste—thecircus
clownfigurediscussedinChapter2whowasfrequentlypairedwiththecrueland
sinisterWhiteClown,afigurethathasvisualandpersonaresonanceswiththelate
nineteenth‐centurymurderousPierrot.ThechiefmarkeroftheAugustewashis
persistentfailuretodoanythingright.Lecoqdescribesadiscoveryofthefunninessof
failurewithhisstudents,inwhichheaskedhisstudentstositinacircle,andonebyone
tostandupanddosomethinginthestyleofthecircusclowntomaketheotherslaugh:
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Lerésultatfutcatastrophique.Nousavionslagorgeserrée,l’angoisseau
plexus,celadevenaittragique…ilsarrêtèrentleurimprovisationet
allèrentserasseoir,dépités,confus,gênés.C’estalors,enlesvoyantdans
cetétatdefaiblesse,quetoutlemondesemitàrire,nondupersonnage
qu’ilsprétendaientnousprésentermaisdelapersonneelle‐même,ainsi
miseànu.Nousavonstrouvé!
[Theresultwascatastrophic.Ourthroatsweretight,chestsconstricted,it
wasbecomingtragic…theystoppedtheirimprovisationandwenttosit
down,vexed,confused,embarrassed.Thatwaswhen,seeingthemin
theirstateofweakness,everyonestartedtolaugh,notatthepersonas
theyhadpretendedtoshowusbutatthepersonherself,soexposed.We
hadfoundit!](Corps153)
Lecoquniversalizesthisdiscoverybydescribingtherealizationmadecollaborativelyby
himselfandhisstudentsthatdayastheinherentridiculousnessofthehumancondition:
“Noussommestousdesclowns,nousnouscroyonstousbeaux,intelligentsetforts,
alorsquenousavonschacunnosfaiblesses,notredérisoire,qui,ens’exprimant,font
rire”[Weareallclowns,weallbelieveourselvestobebeautiful,intelligentandstrong,
whileeachofushasourweaknesses,thingstobederided,which,whenweexpress
them,causelaughter](Corps153).TheclowninLecoq’spedagogytriestomakethe
audiencelaugh,fails,anditisparadoxicallyhisfailureandhissubsequentreactionthat
provokeslaughter.Lecoqunderstandthisfailureasrepresentativeofthehuman
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condition:weareconstantlyattemptingtosucceedintheeyesofothers,andnever
quitemakingit.InLecoq‐trainedclownRobertRosen’swords,theclownisalways“in
theshit”(Personalcorrespondence2007).AccordingtoLecoq,whenothersseethe
momentofvulnerabilitythataccompaniesfailure,theyrespondwithlaughter.Lecoq
andotherclownteachersinhistraditionincludingGaulierandGiovanniFusettiattribute
thislaughtertoarecognitionofauniversalhumanity,predicatedontheassumption
thatthemomentofvulnerabilityrevealstheperformer’strueself:“Enallantjusqu’au
fonddemapropreindividualité,jetouchel’universalité,oùchacunpeutsereconnaître”
[Bygoingtotherootofmytrueindividuality,Itouchtheuniversal,whereeveryonecan
recognizethemselves](FusettiCommencement87).52Theauthenticself,inother
words,canbeaccessedthroughclownpedagogy,andonceaccessedissomethingthat
spectatorswillinstinctivelyrecognize.
Lecoq’sinnovationwastomakethisintoapedagogicalmethodcalled“clown”.
Theparadoxattheheartofthismethodisfoundinthejuxtapositionoftheclown’s
failurewiththestructuringoftheclassroom,inwhichastudentisexpectedtosucceed
atlearningwhatevertechniqueorlessonisbeingtaught.Forinorderto“succeed”in
clown—successthatisdefinedinLecoq‐basedclowncoursesasmakingtheaudience
laugh—thestudentmustfailrepeatedlytomaketheaudiencelaugh.Thisrepeated
failureforcesthestudenttoabandontechniquesshehasacquiredtopleaseboth
spectatorsandteachers,leavingherwithwhateverisleftaftertheselearnedtechniques
52Unlessspecifiedotherwise,alltranslationsinthischapteraremine.
203
havefailed.Thisassumptionandthepracticesthatsurrounditlieattheheartofmy
analysisofGaulier’sclownworkshop,inwhichstudentsfrequentlyunderstood
“whateverisleft”astheauthenticself.
Thisfocusonthe“authenticself”existedintheworkshopdespitethefactthat
Gaulierhimselfisexpresslyuninterestedintheinnerselfofthestudent;unlikeother
Lecoq‐basedclownteachersincludingGiovanniFusettiandAngeladeCastro,Gaulier
doesnotemphasizefindingone’sinnerclown.53Rather,hispedagogyisfocusedonthe
“pleasure”ofperforming,the“beauty”ofthestateofvulnerability,andthefailure
discussedearlierasthecentralclassroomcode.Eachoftheseconceptsisfoundinother
Lecoq‐basedpedagogies;Gaulierhowevergivesthemmorecentralitythanasearchfor
theinnerclown.Histechniques,correspondingly,aredesignedtodisorientthestudent,
includingusingcostumesthatencouragestudentstotransgresstype(Peacock38).
However,languagethatinvokedauthenticityfrequentlycreptintotheclassroom,both
fromGaulier—whenhepraisedastudentforbeing“himself”or“herself”onstage—and
morefrequentlyfromthestudents,whosepost‐classdiscussionsnearlyalways
defaultedtoanassumptionthat“beingoneself”onstagewasthegoaloftheworkshop;
indeed,thephrase“beingmyself”wasfrequentlyusedinterchangeablywith“being
beautiful”(anexpressedaimofGaulier’spedagogy)inbothinterviewsanddiscussions.
53Describinghisclownpedagogy,Fusettisays,“Peoplecanplaythemselvesatthemomentthattheyfeeltheycanplaywiththingsthatareactuallytheirs—theirbodies,theirforms,theirperceptions,”emphasisingthesimultaneousdistancethatisaresultofthestructureofplay;hecontraststhiswithothertypesofperformancethatrelyondistinguishingoneselffromone’scharacter(Interview2007)
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Gaulierrepeatedlypositionedbeautyinoppositiontothepracticeofacting,deridinga
performancewithsuchphrasesas“heishorribleactor,no?”Thisledmoststudentswith
whomIspoketointerpretbeautyasthatwhichremainswhenthemasksofsocially
learnedbehaviorarestrippedaway:“WhenI’mbeautifuliswhenI’mreallybeing
myself,notactingorpretending”(Interviewwithworkshopstudent2007).This
languagedisplaystracesofamodernistconceptionofthe“trueself”thatlieswithinthe
body,aselfstronglycontestedinnineteenth‐centurymimewhenthatwhichlay
beneaththemime’smaskwasportrayedasavoid,aswiththeHanlon‐Lees,andyetan
instinctiverealmmarkedbyautomatismethatbecametiedtoanideaoftheauthentic
self.54Thisideagainedtractionintheearlytwentiethcenturyaspsychoanalysisgained
increasinginfluence,positioningtheselfdeepwithinthebody,accessibleonlythrough
indirectexternalsymptoms.
Gestureandinteriority:“Themirrorisanenemyforthemime…”
Thebeliefinahiddeninteriorityanditscomplexrelationshiptothemaskgained
strengthinlatenineteenth‐andearlytwentieth‐centuryFrenchmime,atraditionthat
wasoneofthechiefinfluencesonLecoq.Realisminthetheatreofthelatenineteenth
centuryresteduponanassumptionofrepresentativetransparency,inthatmeaningwas
directlylinkedtooutermanifestation.“Reflection”isperhapsanaptwordforthisbrand
ofrepresentation;inthesamewaythatsets,costumesandlightingwereconfiguredto
54SeeLouisaE.Jones(1984)foradetailedaccountofthisiconography.
205
produceaneffectof“everydayreality”,sotoowerethebodiesofactorsonthestage
choreographedtolookvisuallyidenticaltotheeveryday,asintheMeiningenPlayers’
famouscrowdscenes.55Theintersectionofpsychologicalrealismwiththispictorial
realismbuildsasecondlayerontotheuseofthebodyasrepresentativeofmeaning:not
onlywasthebodystrategicallyplacedandchoreographedonstagetomirrorthe
everyday,therecognizablemeaningofphysicalmovementandgesture,butthestyleof
gesturebecamesmallerandincreasinglyindicatedsubtlemovementsofthoughtrather
thantheearlierstyleofgesturestandinginforlanguage,asdiscussedinChapter2.
Astheyincreasinglylinkedgesturewiththought,mimeartistsalsobegantoshift
theirrehearsaltechniquestowardsinteriormethodsofself‐analysis.Intheearly
twentiethcentury,thefamousFrenchmimeGustaveFréjavilleSéverindescribedwhyhe
chosetoeschewtheuseofmirrorsastrainingtoolsinfavorofcerebralprocess:“The
mirrorisanenemyforthemime,atleastforthemimewhothinks…Hismirrorshould
behismind:hiseyes,mask,bodyshouldbealwaysindirectcontactwithhisthought”
(qtd.inJones171).Theuseofmirrorshadlongbeenencouragedforactors.Inthe
eighteenthcenturythepredominantactingmethodwastostrikeoneofsix“attitudes”
thatconveyedaclearpassion(assumedtobeuniversallylegibletoaudiences),holding
thetableauforalengthoftimebeforequicklytransitioningtothenextattitude.This
reflectedastrongconnectionbetweenactingandfinearts;eachpassionwasgivenan
idealizedphysicalrepresentationthatwasunderstoodtoimpressitstemplateuponthe
55TheMeiningenPlayerstouredEuropebetween1874‐90,pursuinganaestheticofpictorialillusionismmeanttoduplicaterealitywithgreataccuracy(BrockettandHildy389).
206
humanform.Asthepassionswereconsidered“universal,”theperformer’sbodyhadto
achieveastateof“harmony”inordertosuccessfullyconveytheidealizedtemplate.In
ordertoachievethephysicalrepresentationofthistemplate,theactorwasencouraged
topracticemeticulouslyinfrontofmirrors,atechniquethatJohannWolfgangvon
Goethelaterencouraged(Roach69‐71&167).
FrenchmimeRaouldeNajac’sendorsementoftheuseofmirrorsinhisSouvenirs
d’unmimeisdifferentlyinflectedthanGoethe’s,forwhilethelatterwasconcernedwith
precisionofmovementconferredontheactorbyanall‐controllingdirector,Najac
encouragedthedevelopmentofindividualgesture.Forhimmirrorswereusefulnotfor
achievinganidealphysicalpositionthroughcomparingthereflectedimageagainstan
outwardly‐availableone(viadrawingsordirectorialdescription),butfortestingthe
effectsofone’sownindividualcreation.Thedifferencebetweenhistechniqueand
Séverin’s,therefore,laynotintheemphasisonouter‐directedversusinnermodel,but
inthelocusoftheperformingselfinrelationtothatselfwhichjudgestheperformer’s
gesturalaccuracy,aprocessthatcouldbecalledself‐awareness.WhileSéverin’s
cognitively‐experiencedsensationsofhisbody(hisperformingself)werejudgedbyhis
thinkingmind—“Hismirrorshouldbehismind:hiseyes,mask,bodyshouldbealwaysin
directcontactwithhisthought”—Najacexternalizedhisperformingselfbyplacingit
ontothereflectivesurfaceofthemirror,positioninghisjudgingselfasliteralspectator.
Hiseyelooksoutwardfromthesurfaceofhisbodytoviewthetwo‐dimensionalimage
ofhisperformingbodyonthereflectivesurfaceofthemirror.Untilthemiddleofthe
207
nineteenthcentury,themimetictechniqueofcopyingwhatoneliterallyseeswas
dominantamongactors,mostofwhomcamefromactingfamiliesinwhichthecraftwas
passeddown;thosenewtothetheatrehadtolearntoimitateattitudesandstage
positionsquickly,astherewasverylittlerehearsaltime(Taylor73).Bythelate
nineteenthcentury,however,thistechniquewasincreasinglyconnectedtoanideaof
thedissociationoftheself,echoesofwhichcanbefoundintheGaulier’sfocuson
“pleasure”asadistancingtechniquethatdelineatesthedistinctionbetweenperformer
andperformed.
TheincreasingpopularityofSigmundFreud’spsychoanalytictheoryhad
refiguredtheideaof“doubleconsciousness”formulatedinDenisDiderot’sLeparadoxe
surlecomédien[Theparadoxoftheactor]bypositioningthetruest,deepestselfinthe
realmoftheonlyindirectly‐accessibleunconscious.Diderot’sParadoxehaddrawnonan
eighteenth‐centuryconceptionoftheselfversusthemask;theexteriorofthebody,the
mask,couldbemadebytheskillfulactortomimicemotionalstateswhiletheactor’s
interiorselfremainedunaffected.Hisconceptoftherationalversustheinstinctiveselfis
echoedinWilliamArcher’sMasksorFaces?(1888)inwhichactorswhogivewaytotheir
emotionsonstageinspiteoftheirbetterjudgmentaredescribedas“beside
themselves”(96).Diderothadconnectedsensibilitywiththeinstabilityofbodily
processes:
Lasensibilité,selonlaseuleacceptionqu’onaitdonnéejusqu’àprésentà
ceterme,est,cemesemble,cettedisposition,compagnedelafaiblesse
208
desorganes,suitedelamobilitédudiaphragme,delavivacitéde
l’imagination,deladélicatessedesnerfs…
[Sensibility,accordingtotheonlyacceptableusegiventotheterm,is,it
seemstome,thatdispositionthataccompaniestheweaknessofthe
organs,followsthemovementofthediaphragm,ofthelivelinessofthe
imagination,ofthedelicacyofthenerves…](72)
Havingtiedsensibilitytonature(37),heunderscoreditsspecificallyirrationalaspect:“…
cettedisposition…incline…àperdrelaraison,àexagérer,àmépriser,àdédaigner,à
n’avoiraucuneidéepréciseduvrai,dubonetdubeau,àêtreinjuste,àêtrefou”[…this
disposition…inclinesone…toloseone’smind,toexaggerate,tobecontemptuous,to
scorn,tohavenopreciseideaofthetrue,thegoodandthebeautiful,tobeunjust,tobe
insane](72).
IncontrasttoDiderot’sclearassociationofmechanicalactingwithrationality
andsentimentalactingwiththepropensityto“loseone’smind,”inthelatenineteenth
centuryArcherarguedthat“thereisnoreasonwhyactorswhofeel,betheygood,bad,
orindifferent,shouldnotatthesametimehavealltheirwitsaboutthem.”Addressing
Diderot’scontentionthatanactorwhointerruptshislaughteratajokeinthe
greenroomtogoonstageforasuicidescenecouldnotpossiblyfeelanyemotioninhis
role,Archertiesmechanicalactingnotjusttolackofemotionbuttolackof
comprehension:“Butofthesetruthswehaveanobviousexplanation,involvingno
paradox.Itissimplythattheruck[disparagingtermfor‘group’]ofmiddlingandbad
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actorsperformtheirpartsmechanically,notfeeling,notevenunderstandingthem…”
(95,emphasisadded).Asimilarshiftoccursintheunderstandingof“coldness”:Diderot
laudstheactorLekain‐Niniasfordiscreetlypushingadroppeddiamondoffstagewithhis
footinthemidstofasceneinwhichhischaracterishorror‐stricken:“Direz‐vousqu’il
estmauvaisacteur?Jen’encroisrien.Qu’est‐cedoncqueLekain‐Ninias?C’estun
hommefroidquinesentrien,maisquifiguresupérieurementlasensibilité”[Doyousay
thatheisabadactor?Idon’tbelieveit.Whatis,therefore,Lekain‐Ninias?Heisacold
manwhofeelsnothing,butwhorepresentssensibilityinasuperiorway](64,emphasis
added). 56Archerechoestheuseofcoldnesstodenotemechanicalacting,thoughhe
viewsitwithmorecautionthanDiderot(96&115).
Inhisexplicitpositioningofself‐awarenesswithinthethinkingmind,Séverinwas
reiteratingtheconceptofthe“innermodel”whichhadgainedholdinlatenineteenth‐
centuryactingtheories.TheconceptcanbetracedtoDiderot’sconceptofthe“modèle
idéale"or"modèleintérieur,”57whichreferredtothecreationofanimagewithinthe
mindoftheartistthathethencopiestocreateasculptureorpainting.Incontrasttothe
56ItisimportanttodistinguishtheFrenchdefinitionofsensibilité,theabilitytobeaffectedbyphysicalimpressions,includingfeelings,fromsentiment,thefacultyoffeelingandfeelingsthemselves;thisdistinctionistrueinEnglishaswell(Roach99‐100).WhenDiderottiessensibilitétoirrationalityandArchertiesittobothfeelingandcognition,theyarenotspeakingoffeelingsinandofthemselvesbutoftheabilitytobeaffectedbyfeelings.WhileWalterHerriesPollocktranslatesthelastsectionofthepassageaboveas“…whoiswithoutfeeling,butwhoimitatesitexcellently”(38),Ihavechosentoretaintheterm“sensibility”which,whileitmakesthesentenceslightlymoreclunky,IbelievebetterconveysDiderot’suseofthetermtoindicateanactorimitatingapersonwhohasthecapacitytobeaffectedbyfeelings,ratherthanimitatingfeelingsthemselves.57Whentranslatedliterallyas“idealmodel”or“type,”“modèleidéale"conveysDiderot’sneoclassicalviewofartimprovingonnature;RoachsuggestsconnectingthetermtoDiderot’slater"modèleintérieur”sincebothtermsrefertoanimageinthemind’seyeoftheartist.
210
exteriorizingactionoftheliteralmirror,the“innermodel”placedthefacultyofsight
notwithintheeye(whichseesoutwardfromtheedgesofthebody)butwithinthe
mind,spatiallylocatedintheinteriorofthebody.Instructingartistsontherenderingof
nudefiguresindrawings,Diderotwrites,“Trytoimagine,myfriends,thatthewhole
figureistransparent,andtoplaceyoureyeinthemiddle…”(Essais466,qtd.inRoach
126).Thisspatialshiftistiedtoaconcurrentdiscourseofauthenticity,inwhichthe
individualisanswerableonlytohimself,asthereexistsanegativerelationbetween
craftingone’sactionstoconformtotheopinionsofothersandbeingauthentic.In
theatrethistranslatesintotheartist’sreferenceonlytohimselfortoatranscendent
powerratherthantotheapprovalofthespectators(Trilling97).Thegazeofspectators
uponthesurfaceoftheperformer’sbodyhasnopowertodetermineorcreate
authenticity—apossiblereasonbehindSéverin’sexplicitrejectionoftheexternalizing
functionofthemirror:“Themirrorisanenemyforthemime,atleastforthethinking
mime…”.
TheshiftthatoccurredinpsychologywithFreud’stheoriesoftheunconscious
andthesymptom—whichtiedtheunconsciousinextricablytothebody—deepenedand
furtherlayeredthisunderstandingofthebodyaslegiblelocusofinteriormeaning,for
histheoryofpsychoanalysisrupturedtheformerlyassumedone‐to‐oneconnection
betweenperceptionandrepresentation.Nolongerwasanembodiedgestureareliably
transparentpointertounderlyingpsychologicalmeaning;thesymptomhadreplaced
themirrorasasymbolratherthanareflection,andonlyanewmethodology—
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psychoanalysis—couldunlockitsmeaning.Thatthemeaninghiddenwithinthe
unconsciouscouldbemadelegiblewithinthecorrectmethodology,however,doesnot
negatetheseverityoftheparadigmshiftvis‐à‐vismeaningandthecomprehensible
subjectusheredinbyFreud.Oneneedonlylooktothetenetsofnineteenthcentury
realism—particularlyitsnaturalistmanifestation—toperceivethedisorientationFreud’s
theoriesinauguratedforthestabilityofthesubject.Whereaswithinnaturalismthe
subjectwasunderstoodtobetransparentandreadilylegible,onceFreud’s
psychoanalytictheorytookholdthenotionof“underlyingpsychicreality”became
unanchoredfromaone‐to‐onecorrespondenceofinnerrealitytooutermanifestation.
Evenwithinthemethodologyofpsychoanalysis,theprocessofuncoveringunconscious
meaningwasalong,multifacetedone,asanyofFreud’sownnarrativesinThe
PsychopathologyofEverydayLife(1914)willattest.TheincreasingpopularityofFreud’s
psychoanalytictheoryhadrefiguredtheideaof“doubleconsciousness”formulatedin
Diderot’sParadoxebypositioningthetruest,deepestselfintherealmoftheonly
indirectly‐accessibleunconscious.ConstantinStanislavskisimilarlyprivilegedthe
subconsciousovertheconsciousmindasthe“realmwherenine‐tenthsofanygenuine
creativeprocesstakesplace”(Legacy172);hisactingtechniquesincludingemotion
recall(Actor164)areintendedtoaccessthisrealmoftruecreativeprocess.
Lecoq’sreworkingofhispedagogyaroundadeliberatedistancingoftheperformer
fromtherole,however,foregroundedandprivilegedthetwo‐facednessofacting;
sinceritybecamelinkedtothepresenceoftheactorbehindthemaskofthecharacter.
212
Thisshiftinthelanguageusedtodescribethearchaeologyoftheselffromunderneath
inFreud’s“unconscious”tobehindinLecoqcanlikelybeattributedtothemaskwork
thatformsthefoundationofLecoq’spedagogy:fromNeutralMaskthroughLarval,
ExpressiveandCharactermasksandfinallytheRedNose,thestrongestsignifierofthe
performer’sidentity—herface—islocatedbehindthemask,leadingtoalogicalslippage
thatpositionsthepresenceoftheperformer’s“trueself”behindthemaskofthe
charactersheisperforming.ForLecoqthispresenceisdetectedthroughspontaneous
reactionstoexternalstimuli:
Orlejeunepeuts’établirqu’enréactionàl’autre.Ilfautleurfaire
comprendrecephénomèneessentiel:réagir,c’estmettreenreliefla
propositiondumondedudehors.Lemondedudedansserévèlepar
réactionauxprovocationsdumondedudehors.Pourjouer,riennesert
derechercherensoisasensibilité,sessouvenirs,sonmondede
l’enfance.
[Butplaycannotoccurexceptthroughreactiontoanother.Theymust
understandthisessentialphenomenon:toreactistoplaceinreliefthe
ideaoftheoutsideworld.Theinnerworldrevealsitselfthroughreactions
totheprovocationsoftheoutsideworld.Toplay,itdoesnogoodto
searchforsensitivities,memories,theworldofchildhood.](Corps42)
ThekeydistinctionherebetweenNajac’suseofmirrorsdiscussedearlierandLecoq’s
expressedpedagogicalaimisthatwhileintheformertheactorhimselfjudgeshisown
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performance,inthelattertheperformanceisfundamentallydependentonthe
reactionsofothers.Lecoq’slinkingofinteriorityto“theprovocationsoftheworld
outside”producedpedagogicaltechniquesdesignedtodisruptthestudent’shabitual
relianceonhisownsenseofinteriority,includingtechniquesofdisorientationthat
forcedstudentstofocusontheunpredictablereactionsofspectators.Gaulierenacted
thisdisruptionthroughtechniquesofdisorientationproducedbyconstantfailure,
continuallylinkingthisstateoffailuretothatoftheclown.
Spontaneityandgettingthetimingwrong
Gaulieropenshisclownworkshopwithastory.Hedescribesan“idiot”
wanderingthroughthestreetsofParistowardsabistrowhereMonsieurMarcel,the
“whitewolf,”sitsanddispenseshiswisdomtocuriousseekers.InhisbookLeGégèneur:
JeuxLumièreThéâtre/TheTormentor:LeJeuLightTheatre,thestoryisrenderedinthe
firstperson,GaulierhimselfaskingMonsieurMarcelforadviceonwhatinreallife
becameoneofhismostfamousclownactswithPierreBylandinwhichtheduosmashed
multipleplatesbeforealiveaudience.Inthestory,theidiot/GaulierinformsMonsieur
Marcelthathehaslefttraditionaltheatreandwishestodoaclownroutinewitha
friend,andasksforadviceon«uneidéedegagquiferarirelepublic,àcoupsûr»/“a
gagthat’llmakeanaudiencelaugh,somethingsure‐fire.”MonsieurMarceladvisesthe
aspiringclowntobreakaplate,as«çaatoujoursamuselepublic»/“‘thatalways
makesthemhappy’”(120&280).Gaulier’sdescriptionoftheoutcomeoftheshow
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illustratesakeydistinctioninclownbetweenperformingsomethingfunnyandbeing
funnybecauseofthefailuretoperformsomethingfunny:
J’aifaitlespectacle.
QuandmonamiPierreBylandetmoiavonscasséuneassiette,lepublic
n’apasri.Quandnousn’avonspascomprispourquoil’idéegénialede
MonsieurMarceln’apasfonctionné,ilarigoléjusqu'às’enéclaterla
rate.Nousavonspensé:lepublicn’estpasdanslebonrythme.Nous
avonscasséunesecondeassietteafindelemettredanslebonrythme.
Nouveléchec:nouveauxriresdécalés.
Nousavonscassédeuxcentsassietteschaquesoirafindemettrele
publicdanslebonrythme.
Unbeaugâchis.
…L’idéed’unnumérodeclownestsouffléeparuncornichonàune
andouille.
Celle‐citenterad’enfaireunfromage.
Lepublicritduridiculeetdel’humanitédel’andouille.Peudugag.
[Ididtheshow.
WhenmyfriendandIsmashedaplate,theaudiencedidn’tlaugh.We
didn’tunderstandwhytheydidn’tlaughatMonsieurMarcel’sbrilliant
idea.Thismadethemlaughuproariously.
215
‘Theaudience’stimingisallwrong,’wethought.Sowebrokeanother
plate,sotheycouldgettheirtimingright.Anotherfailure.Morelaughter
atthewrongtime.
Webroketwohundredplateseveryeveningsotheaudiencecouldget
theirtimingright.Afinemess.
…Theideaofa‘clown’routineistransmittedbyanitwittoanumbskull.
Thenumbskullwilltrytomakeanumberoutofit.Theaudiencelaughsat
theabsurdityandhumanityofthenumbskull,morethanitlaughsatthe
gag.](120‐1&280)
Theaudience’slaughterheredisruptstheperformer’sexpectationsofwhenlaughteris
meanttooccurinthecomicpiece,forcingtheperformerintothestateofclownin
whichperformanceandaudienceresponsecannotbepredicted,butmustbe
encounteredspontaneously.
Atthecoreof“discoveringone’sclown”inGaulier’sclassesisthisideaof
spontaneity.Spontaneityinthenineteenthcenturywaslinkedtotheconceptofthe
automaticandthroughthistoStanislavski’snotionof“secondnature”astheworkings
ofconditionedreflexes(Roach162‐3).Theinteriorspacecalledtheunconscious,which
wasdubbedassuchbyEduardvonHartmanninhisPhilosophyoftheUnconsciousof
1868,translatedintoFrenchin1877(Roach179)—becametherepositoryofthe
instinctive,irrationalforcesofbêtism.Copeau,agreatadmirerofStanislavski’s,wished
toexplorepedagogicalstrategiesforre‐connectingtheactortohis“natural”self,tohis
216
unconscious.Nineteenth‐centuryviewsoftheunconsciousasthehomeofirrational
forces,togetherwithFreud’spsychoanalyticmethodsforbypassingtherationalego,
carriedoverintoearlytwentiethcenturyexperimentationwithhelpingactorsachieve
“spontaneity.”Spontaneityatthistimewasandcontinuestobedefinedinmuchthe
samewayasStanislavskidefined“secondnature”,andwaspursuedbyLecoqlaterin
thetwentiethcentury.
Inordertobypasstheactor’srationalmind,Lecoqdrewonanindirecttraining
method—“parricochet”(Corps63),whichItranslateas“indirectly”,andwhichDavid
Bradbyhastranslatedas“asidewaysapproach”(Body53).Lecoqconnectedthistohis
earlycareerexperienceinsports:
Encela,l’enseignementnefonctionnepasendirect,maisparricochet,
commepourcertainsentraînementssportifs.Pourfaireunbonlanceur
depoidsilfautlefairecourir,pourformerunbonjudoka,ilfautluifaire
fairedelamusculation.Cedétourestégalementnécessairedansle
domaineduthéâtre.
[Inthistheteachingdoesnotfunctiondirectly,butindirectly,likeinsome
sportstraining.Tomakeagoodshotputteronemustrun,tomakea
goodjudoka,onemustliftweights.Thisdetourisequallynecessaryinthe
fieldoftheatre.](Corps63‐4,emphasisadded)
217
Gaulierstudentsalsoconnectedthisideaofspontaneitytophysicalprocesses,
frequentlydescribingitbyevokingtheideaofreflex:astheabilitytoreacttowhatever
situationisinfrontofyou,withoutcognitivethought:
It’sthisideathatyou’renottopresumeanything,nottothinkabout
what’sgoingtohappennext,andthat’squiteahardthingtodowhen
youknowwhat’sgoingtohappennext.Butjusttobeopento,toreactto
exactlywhatisgoingon,andwhattheotheractorisgivingyou,andwhat
theaudiencewantsyoutodo.(Interviewwithstudent2008)
Onestudent,describinganimprovisedsceneinwhichthevisitinginstructorChristine
Langdon‐Smithhadgiventhetwostudentsonstageadistraction—sheplacedone
studentinawheelchairinordertodistancethemfromtheirlearnedinterpretationsofa
classicalscene—linkedtheirabilitytobespontaneoustoanideaoffreedom:“Thatwas
tomeoneofthemostopenmomentstowatch.Anditwasjustthisideathattheycould
have,itfeltliketheycouldgoanywherewithit,andtheywerejustfree,intheirown
bodiesandtheirownself”(Interview2008).Freedomisconnectedheretotemporal
andspatialpresence;being“inthemoment”andreactingtowhatwashappening
physicallyinfrontofthemonstage.Therationalmindispositionedasablockto
spontaneityinitsconstantattemptstocontrolactionbasedonpreconceivedideas.
Alinkcanbedrawnherebetweentheviewoftherationalmindasarepository
ofpreconceivedideasthatprescribeactionbyinhibitingspontaneity,andthetwentieth
centuryvitalistviewofthebodyasacalcifiedsetoflearnedhabitsthatmustbe
218
bypassedinorderfortheactortoachievephysicalspontaneity.Thisisoneroutetothe
notionofthe“thinkingbody”thatliesattheheartofphysicaltheatre,withthebody’s
thinkingaspectcomprisingtwocontrastingstrands:thethinkingassociatedwith
rationality,preconceivedideasandcalcifiedphysicalhabits;andtheideaofthebody’s
innatewisdom,connectedtothewisdomoftheunconscious.Bothofthesestrandscan
belinkedtoanearlytwentieth‐centuryideasofsincerityasitwasdeployedinFrench
mimepedagogy.
Acraftgroundedinsincerity
Intheearlypartofthetwentiethcentury,Copeausethimselftoarticulatinga
trainingforactorsthatwouldmaketheactor’s“sincerity”genuine.“Sincerity”wasa
catch‐phraseinearlytwentieth‐centurymimetheoryforahostofconceptsconnected
totheideaoftruth:presence,ennoblement,authenticity.LouisJouvetcalledforsaving
actorsfromtheir“monstrousegotism,thatcongestionofsincerity”(qtd.inGardner4).
Inhis“Conseilsàunjeuneélève,”CharlesDullinmakeshispointstarkly:“Insincerity,
there’sthepoison,”arguingthatinsincerityleadstocabotinage,anaffectedstyleof
actingthatdamagestheactor’shumanityasit“involvesahardeningoftheheartandan
abandonmentofthesoulthatintheenddegradesaman”(qtd.inGardner6).This
“hardeningoftheheart”and“abandonmentofthesoul”evokesthesang‐froidfor
whichPierrotperformersweresolaudedinthenineteenthcentury,asthehighest
praiseamimecouldreceivewasthathecreatedtheappearanceofabsolute
219
disengagementfromhisperformance.Thatthemimepractitionersofearlytwentieth
centuryFranceweresopreoccupiedwithavoidingthisappearanceofdisengagement,
of“renormalizing”theactorsothathecouldperformwith“sincerity,”pointsnottoa
newvalueplacedontheactor’s“sincerity”—forthisconcernovertheactor’sprofession
hadbeenwell‐establishedasfarbackasShakespeare—butratheranimportantshiftin
howinterioritywasviewed.Inthenineteenthcentury,amime’ssang‐froidwas
evidenceofhissincerity,forspectatorswereabletoseethemimeasaperformer
executinghiscraftwithvirtuosity;ifatearrandownCharlesDeburau’sfaceduringhis
performanceinaPierrotpantomime,thiswasevidencenotthattheperformerhimself
feltsadness,butthathehadusedhis“will”tomasterhisbody’sphysiologicalreactions
tothepointwherehecouldseemingly“spontaneously”produceatear.
Thepushtowardsmétier[craft]inearlytwentieth‐centuryFrenchmimewas
simultaneouslyarejectionofthesang‐froidofthenineteenthcenturyanda
continuationofthenineteenthcenturyfocusonthecraftofmimeasthemind/will
exertingcontroloverthebodyasmachine.TonyGardner(2008)hasdocumentedthe
waysinwhichthecontinuationoftheseideas—articulatedastheneedfortraining
techniquestostriptheactorofsocializedbehaviors—wasinformedinpartbythe
embracingofneo‐classicalidealsinFranceafterthefirstWorldWar,theso‐called
Rappelàl’ordre[Calltoorder].FueledbyarejectionofRomanticidealsfortheir
Germanicorigins,theRappelàl’ordrejoinedtheinfluenceofthescientificmethodin
encouragingasystematicapproachtoart,whichCharlesEdouardJeanneretexpectedto
220
“inducethesensationofmathematicalorder,andthemeansofinducingthis
mathematicalordershouldbesoughtamonguniversalmeans”(qtd.inGardner6).
Copeauidentifiedrigoroustechniqueastheroutetosincerityinacting:
Emotiveexpressiongrowsoutofcorrectexpression.Notonlydoes
techniquenotexcludesensitivity:itauthenticatesandliberatesit.It
upholdsandprotectsit.Itisthankstoourcraft[métier]thatweareable
toletourselvesgo,becauseitisthankstoitthatwewillbeabletofind
ourselvesagain.(Texts77)
CopeauhadadmiredanddrawnonStanislavski’stechniquesforpursuing“sincerity”and
“truth”intheactor’semotionalexpression(Felner39).Inordertogivetheactor
techniquesforfreeingthebodyfromlearnedhabitsofexpression,Copeauexplored
varioustypesofmovementtraining,amethodmeantto“followthenatural
developmentoftheinstinctforplayinthechild”(qtd.inFelner40).
Lecoqmadelejeu(“play”or“thegame”)centraltohispedagogy;Gaulierfocuses
evenmorestronglyonthe“pleasuretoplay.”Gaulier’sfocusonpleasurecontinually
remindstheperformertoremaindisengagedfromtheperformance:theactorand
characterareneverone.Thismeansthattheperformerneveractuallyfeelstheemotion
thatheorsheisplaying,buttakespleasureinpretendingtofeelit.This“pleasurein
playing”isattheheartoflejeuforGaulier,andunderlieseverythingheteaches.So,as
discussedinChapter3,whenheaskedstudentstoplaytheNeutralMaskseeingthe
oceanandhavinga“bigemotion”andreceivedconfusedresponsesandquestions,he
221
reiteratedhiscentralpointthattheperformerwastotakepleasureinplayingthebig
emotionoftheNeutralMask.Inthisinstancetheemotionofthemaskwastobe
treatedasanyotheraction:amomentaryshiftoutofneutralityintoexpressivity,justas
leaningovertopickupastonewasanupsettingoftheneutralityofperfectbalanceand
alignment.Critiquesofstudents’unintentionallyexpressiveposturesandmovements
(“Nosedown,”“Headup,”“Youlooksad,”“Hemaybehadtoomuchtodrinklastnight”)
appliedtothestateofneutralitythatprecededexpressivityandaction.Studentshad
learnedfromsuchfeedbackthatexpressivitywasnotwanted,andthereforeresponded
withconfusiontotheinstructiontohaveabigemotion.Unintentionalexpressivityin
theneutralstatecamefromthestudent’spre‐existingemotional/physicalstate,
whereastheNeutralMask’semotionatseeingtheoceanwasashiftoutofpre‐existing
neutrality.Thesetwotypesofexpressivitywereconflated,understandably,leadingto
Alex’scomment,citedatthebeginningofChapter3,abouttheperennialissueof
whethertheactorfeelstheemotionheisplaying,whenGaulier’sinstructionhadhad
nothingtodowithwhattheperformerfelt.Thisdisengagementfromidentificationwith
thatwhichisbeingplayedisreiteratedinGaulier’sClownpedagogy,withakey
difference:inClown,thedisengagedselfwhotakespleasureinplayingisidentifiedwith
thestudent’s“true”selfagainstthelearnedpersonacomposedofsocializedhabits.
Gaulier’sstrategyforbreakingthesehabitsisoneofdisorientation:makingthestudent,
whohasbeensocializedtosucceedintheclassroombypleasingtheteacher,repeatedly
fail,or“flop”.
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TheflopanddisorientationinGaulier’spedagogy
Lecoqembracedthenotionofanecessarycrisisinthere‐constructionoftheself,
puttingforththeflopasthecoreofclowntraining:
Leclownestceluiqui“prendlebide”,quiratesonnuméroet,decefait,
placelespectateurenétatdesupériorité.Parcetéchec,ildévoilesa
naturehumaineprofondequinousémeutetnousfaitrire.
[Theclownistheonewho“flops”(lit.“takesthebelly”),whomisseshis
turnand,inthisway,positionsthespectatorinasuperiorstate.Forthis
failure,herevealshisprofoundhumannaturewhichmovesusandmakes
uslaugh.](Corps155)
Gaulierfrequentlyreferredto“MonsieurFlop”duringtheclownworkshopasthe
clown’sbestfriend;whentheclownsensesaflop,sheshouldthinktoherself“Ah,I
senseMonsieurFlopisnear—Ithankyou,MonsieurFlop,foryouwillallowmetosave
theshow”(myparaphraseofGaulier’sin‐classdescription,2008).Theflopisthe
mistake.Inaclownperformancebeforeanaudience,itisarehearsedmistake;inthe
clownclassroom,itisgenuine—thestudenttrulymessesupandfacesamoment—often
unbearable—ofnotknowingwhattodonext.TheauthoritarianstructureofGaulier’s
classroom,asdiscussedabove,facilitatedfrequentopportunitiesforflops.
Theintensivefocusonredefiningsuccessandfailureintheclownclassroomis
predicatedonthebeliefthatthestudent’sbodyisdisciplinedwithintraditional
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classroomstoperforminarigidlycodifiedmanner,therebycalcifyingthepersonaintoa
setofapprovedbehaviors.Theactoffailure,correspondingly,createsaruptureora
breakinthispersona.Gaulier’sclassroomisdeliberatelystructuredtoproduce
disorientationthroughensuringthefailureofanypre‐existingstrategiesforpleasingthe
teacherthatastudentbringswithher.Theuseof“impossible”exercises(throwinga
studentonstageanddemandingsheinstantly“befunny”),thedrumthatcouldstrike,
startlingly,atanymoment(Figure6),andthecultureofharshcritiquewerethechief
strategiesforproducingdisorientationamongstudents.
Figure6:Gaulierreadytohitthedrum
Thesudden,oftenfear‐inducingtechniquesemployedbyGaulierlinksthesestates
ofdisorientationtowhatRogerCailloisidentifiesasvertiginousgames:
Thelastkindofgameincludesthosewhicharebasedonthepursuit
ofvertigoandwhichconsistofanattempttomomentarilydestroythestabili
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tyofperceptionandinflictakindofvoluptuouspanicuponanotherwise
lucidmind.Inallcases,itisaquestionofsurrenderingtoakindofspasm,
seizure,orshockwhichdestroysrealitywithsovereignbrusqueness.(23)
Theshockelementofvertiginousgamesresonateswithonestudent’sdescriptionofthe
flop,whichshelinkedtoGaulier’sdescriptionofthe“necessarycrisis”:
Gauliertalksalotaboutthebeautifulprocess,andhavingthiscrisis
whereyou’reinatunnelandyoudon’tknowwhatyou’redoing.Hefeels,
it’shisopinion,thatyouneedthat,tothencomeoutofthat,because
that’sthetimewhenyoureallystrugglewithyourselfandfigureoutwhat
you’redoingandwhyyou’redoingit.(Interview2008)
Gaulierdescribeshispedagogyinphysicallyharshterms,pittinghimselfagainstthe
habitsofperformanceandpersona:
Quandj’enseigneleclown,jeboxe:unuppercutdanslagueuledugentil
petitpersonnage,uncrochetdudroitdanslesgencivesdelavolonté,de
ladétermination,desrésolutions,desvolitions,undirectdansl’estomac
ducomiquedebasétage,uncrochetdugauchedanslethoraxdecelui
quisecroitdrôleavantdel’être,troisswingscontrelesidées
conventionnelles.
[WhenIteachclown,Ibox.Anuppercutonthefaceofthenicelittle
character,arighthookinthegumsofwill,determination,resolutionand
volition.Asmackinthestomachofthecheapcomic,alefthooktothe
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thoraxforsomeonewhothinksthey’refunnybeforetheyreallyareand
threepiledriversforconventionalideas.](130&290)
Hisexpressedaimistodismantlethestudent’ssenseofselfaccruedthroughimitative
habits,forcinghertofallbackuponwhatexistsunderneaththismaskofthepersona.
WhileGaulierdoesnotuselanguagethatevokesthe“natural”or“pre‐inscripted”body,
studentsneverthelesstendedtolinktheideaofsuccessfullyfollowinganimpulseon
stageinthemidstofdisorientationwithbeingintouchwiththe“self”—acommon
elision,asMarkEvanspointsout,inactortrainingthatfocusesonreactingonimpulse
ratherthanhabitualresponse(Movement84).
WhileGaulier’sclownclassroomwasstructuredaroundtheideaoffailure,his
harshauthoritariandemeanorsimultaneouslystructuredaspaceinwhichstudentsfelt
compelledtofigureouthowtosucceedinpleasingtheteacher.Studentsquickly
learnedthattherewasarightwayandawrongwaytofail:ifthefailureproduced
laughter,itwascorrect;ifthefailureresultedinthesoundofadrumbeatfollowedby
Gaulier’smuttered“Thankyou,goodbye,”itwaswrong.Gaulier,however,directly
challengedthisassumptionattheendofthethirdweekofthecourse,whenthe
classroomhadbeenimplicitlydividedbetweenthosewhoweredoingrelativelywell(a
tinyminority)andtheremainingstudentswhowereincreasinglyfrustratedovertheir
abilitytofailcorrectly.OnFridayafternoonattheendofthethirdweek,allforty‐three
studentsfromthetwogroupsthattheclasswasdividedintoweregatheredtogetherin
theclassroomstudiofortheweeklygroupsession.Shoulderswereslumped,faceswere
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pinched,andthegeneralsensewasthatofdreadmixedwithincreasingdespair.Gaulier
bangedhisdrumandsaid,“So.Iwantabadstudentnowtogetup.”Afterabriefpause
Paula—athirty‐threeyearoldPortugueseBrazilianwomanwhoworkedasa
professionalclowninBrazilandwhoseEnglishabilitiesweresparse—sighed,stoodup
andtookcentrestage.58“Now,”Gaulierinstructed,“tellusaboutyourflops,whenyou
havefloppedhere.”
Paulabegantodescribetheattemptsshehadmadeoverthepastthreeweeks
tobefunny,describingtheexerciseinstructions(“Weweretocomeonandsavethe
showbecausetheclownshadbeeninplanecrash”),herattempttodosomethingfunny
(“AndIcameonanddancedandpresentedshow”—thisaccompaniedwithaslightsmile
assherecalledthefunshehadhadintheexercise),andhersubsequentfailure(“…and
noonelikedit.”).Atmomentsduringherrecountingscatteredlaughterbrokeoutinthe
room,usuallyduringhertransitionfromdescribinghereffortsintostatingthattheyhad
failed.Herspirits,alongwithhershouldersandfacialexpression,seemedtodroopas
shecarriedonrecountingherflops,untilGaulierstoppedherwithabangofthedrum,
lookedaroundandaskedtheroomatlarge,“Sheisbeautifulnow,no?Shehas
something,”towhichtheroomatlargemurmuredconsent.HethenturnedtoPaula,
leanedforward,andsaid,“Whyyounotbelikethis,likeyouarenow?Youareyourself–
youarebeautiful,thiswomanhereisbeautiful.Whyyoudothisawfulperforming,be
thishorribleactress,insteadofthisbeautifulwoman?”Paulabegancrying,shookher
58Allstudentnameshavebeenchanged.
227
head,andmurmured“Idon’tknow.”Heaskedherwhethershehadheardthe
audience’slaughterassherecountedherflops;whensheshookherhead,hesaid,
“Theylaughedbecausethisisbeautiful.Thishereisyou,”reinscribingtheideathat
beautyistiedtotheemergenceofthe“true”selfbeforespectators,andsimultaneously
linkingthetrueselfwithexpressionsofconfusionandsadness.
Paula’sapproachtoclowningintheworkshophadbeeninfluencedbyher
existingcareerasaclowninBrazilperformingmainlyforchildren,bothintheatrical
settingsandinhospitalsthroughtheorganization“DoutoresdaAlegria”[DoctorsofJoy]
inSaoPaolo.Theclowningstylethatshehaddevelopedwasphysicallybroadand
expressive,markedbyexaggeratedgesturesandfacialexpressions.Inthehospital
setting,accordingtoPaula,theclownperformstherolesofjoyfulplaymatesforthe
hospitalizedchildren,encouragingthemtolaughattheclown’ssillinessandjoinin
gamesthataremeanttodistractthemfromtherathergrimsettingofthehospitaland
thepresenceofillnessandinjury.Pauladescribesthecoreofthisapproachasabelief
thatthehumanheartisasiteofcreativityandjoy;theclownaimstovisiblyembody
thesequalities.
ForPaulaasaBrazilianhospitalclown,therefore,“beauty”layinlargephysical
gesturesanddeliberateexpressionsofjoyandwonder.Gaulier’sdefinitionof“beauty”,
inmarkedcontrasttothis,wasrootedinanideaofopennessmarkedbyphysical
minimalismandcognitiveconfusion.HispraiseofPauladuringthe“describeyourflop”
exercisefocusedonherlackoflargegesturesandfacialexpressions,andfarfrom
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expressionsofjoy,heonlydescribedheras“beautiful”whenshebegantolook
confusedanddispirited,hispraiseheighteningasshebegantocry.Thisencounter
tappedintooneofthecontradictionsatplayintheworkshop:theroleofemotional
expressiononandthroughthebody.Gaulier’sdisparagementofcertainmarkersofthe
unrulybodyincludingexaggeratedgesturesandfacialexpressionsrevealedtheFrench
mimetradition’sshrinkingofthebodyassiteofexpressivityandmistrustofovert
emotionalmarkers,markersthatPaula’sbodydisplayed.Thecentralityofanideaof
pleasuredefinedasan“openness”predicatedonlackofmusculartensioncameinto
conflict,inthatmoment,withanapproachtothejoyofclowningthatprivilegedvisible
displaysofemotiononthebody.Theminimalismassociatedwiththestateofclownin
theFrenchLecoqtraditionnotonlypointstoamistrustoftheconsciousself,butofthe
excessive,unrulybody—anearlytwenty‐first‐centurymanifestationofthelate
nineteenth‐centurycontaminationanxietiesanalyzedinChapter2.WhenPaulawason
stageintheworkshop,herbodymovedinlarge,sweepinggestures:headhigh,chest
out,hipsswayingasshesmiledbroadlyandlaughedandwinkedattheaudience.This,
accordingtoPaula,washerinterpretationoftheclown’sjoy,whichsheidentifiedasthe
“pleasure”thatGaulierendorsed.Gaulier’sreadingofthislevelofbodilyexpressivity
wasasinauthenticdisplay,asexcessiveeffortthathedescribedasrepellanttoan
audience.
Hispraiseofinvoluntarycrying,however—andthispraisewasrepeated
throughouttheworkshopwheneverastudentcriedonstage—privilegedanideaof
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authenticemotionthatevokedtheconceptofautomatismeasinvoluntarymovements
producedsubconsciously.Thislatterconceptofauthenticityrevealsamistrustofthe
consciousself(whatJanettermed“l’ideédumoi”,asdiscussedinChapter2)that
representsemotionsonstage.Gaulierinterpretedlargeexpressivegesturessuchas
Paula’sasrootedintheconsciousself,inan“idea”ratherthananinvoluntaryemotional
reality.Heinterpretedcryingonstage,conversely,asaspontaneouseruptionofthe
authenticself(echoingJanet’sideaofthesubconscious)thatwasmorerealand
thereforemore“beautiful”thandeliberate,consciousdisplaysofemotionality.
WhenIspoketoPaulalateraboutherexperienceintheexercise,sheexpressed
conflictingfeelingsandideasoverwhathadoccurred.Immediatelyaftertheclass
finished,shewasstillintears,andascribedherinabilityto“hear”thelaughtertoa
translationissue:whenshehadarrivedinParisfromBrazilninemonthspreviously,she
wasbarelyabletospeakEnglishatall;throughouttheyearshehadbeenstrugglingwith
Gaulier’sheavily‐accentedEnglish.Maria,ayoungwomanfromGreece,satwithPaula
asshecriedinthedressingroomandrepeatedlyinvokedthelessonatthecenterof
Gaulier’sclownpedagogy:“Youarebeautifulnow,youarereallyyourself.See,this
Paula,here,beingvulnerable,issobeautiful.That’swhatwelovetoseeonstage.”
PaulanoddedinapparentagreementasMariaspoke,butsimultaneouslycountered
whatshewassayingbyreturningtotheissueoftranslation:“Heasksmetodothings
andIdon’tknowwhathe’ssaid,andhowamIsupposedtodotheexerciseifIcan’t
understand?”OnasurfacelevelthiscouldbesaidtopointtoGaulier’suseof
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disorientationasaspecifictactic,yetPaula’sgenuinedifficultyinunderstanding
Gaulier’sinstructionsandfeedbackremovedherinteractionwithhimfromtheframeof
theclownclassroomthathehadsetup,asthisframingreliedonstudents
understandingtheprocessandbecomingdisorientedwithinit.Paulahadexperienced
anauthoritarianclassroominwhichtherewasnodistancingfromtheperformancethat
madeitaparody;despiteGaulier’sinsistencethatshehadbeen“beautiful”whenshe
criedonstage,hervulnerabilityinthatmomentexistedasagenuinebreakdownof
communicationbetweenteacherandstudent,notamomentofdisorientation
producedthroughGaulier’sintendedpedagogicalstrategy.Thislattertypeof
engagementrequiredalevelofunderstandingoftheclassroomframingthatallowed
thestudenttofunctionwithinherintendedrole.
AfterPaulareturnedtoherseat,anEnglishstudentnamedDavid—whoearlierin
thedayhadaskedhowhecouldknowthathewasbeinghimself,when“IthinkI’m
beingreal,andbeingmyself,butapparentlyI’mnot,becauseI’mnotbeautiful”—stood
upandshuffledtocenterstage.Hesmiledsomewhatsheepishlyandbegandescribing
hisflops:“Right—well,duringthefirstweekwedidthisexerciseandIthoughtitwould
beabrilliantidea…”Helaidoutalitanyoffailure,hisnormalself‐assured,somewhat
cockydemeanorreplacedbythephysicalcuesofconfusion:complexionpale,brows
slightlyfurrowed,shouldersslumped.Describingamomentinclasswhenhehadbeen
confidentthathisideawouldbegreetedwithlaughter,hebrieflycharacterizedhimself
performingaridiculousgrimace,smiledandchuckledbrieflyatthehumorhehadfound
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intheperformance,thensankbackintohislookofconfusionasherememberedthatno
oneelsehadlaughed.Thisconfusedlookwasmarkedbyasofteningofthefacial
muscles:hisjawdroppedveryslightly,hischeekmuscleswhichhadcontractedwhenhe
smiledrelaxed,alsoresultinginhiseyesopeningwider.
Theaudiencelaughed,asmallchuckle.David,whoappearedabouttocontinue
hisstory,paused,surprised:hiseyebrowsraisedslightly,openinghiseyesfurther.This
resultedinalouderlaughfromtheaudience;themoreconfusedandsurprisedDavid
appeared,themorewelaughed.Thelaughterstoppedquitesuddenlywhenhe“struck
apose,”liftinghissternum,clenchinghisfistandcontractinghisfacialmusclesintoa
fixedsmile.Thiswasdescribedlaterbyseveralstudentsashimfallingbackintohis
“cocky”demeanor,andtheroomwassilentuntilthelackoflaughterconfusedhim
further,promptinganotherrelaxationofthemuscles.“Youlookedsosadand
vulnerable,”onestudentcommentedtohimafterclass.Thismoment—experiencedby
onlyafewstudentsintheworkshop—isdescribedas“findingone’sclown,”the
momentofcompleteopennessandvulnerabilitybroughtaboutthroughthefailureto
pleasetheaudience,aneffectheightenedwhentheperformerhadbeensoconfidentin
hisperformingabilitiesthatthefailureisthatmuchmoredisorienting.Thisprocesslinks
the“untrue”or“false”selftothehabituallyperformedpersona,linkingittoFrench
mimetheoriesoftheearlytwentiethcenturythatidentifiedthe“true”selfwiththe
body’sabilitytobreakfreeofsocially‐conditionedhabitsofmovementandtoanideaof
sincerityasthatwhichliesbehindthemaskofthecharacterperformed.However,
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Gaulier’stechniqueofdisorientingthestudentinordertorevealaselfbehindthe
student’sownpersonatakesthisideaofsincerityonestepfurther,identifyingthe
student’shabitually‐performedpersonawiththemaskofacharacter.Sotheselfwho
takespleasureinperforming,markedbyadissociationoftheperformerfromcharacter,
isaselfdistancednotonlyfromthecharacterperformed,butfromtheperformer’sown
ideaofwhosheisbehindthemask.Thatspectatorsonlycatchaglimpseofthis“true”
selfwhentheperformerisinanopen,vulnerablestateofdisorientationproduced
throughfailuremakesthis“true”selfdifficulttoidentifyordefineoutsideofavague
senseofopennessandwhatGauliercalls“beauty”,asanycleardefinitionwould
becomeyetanothercomponentofasocially‐constructedpersona.Idiscussthisvague
senseofopenness,andstudents’attemptstoarticulateit,inthefollowingsection.
Thebeautiful/trueself
Aftertheclassinwhichstudentshadrecountedtheirfailures,overdrinksatAu
ClairedeLune,thebuzzofconversationrevolvedaroundthebeautyofpeoplewhen
theywere“reallythemselves”onstage.“Youcanseeitintheireyes,whenthey’re
themselves,”Zoe,atwenty‐threeyearoldstudentfromEngland,toldme.WhenIasked
whatshethought“beingoneself”meant,shehesitatedforamoment,thenresponded,
“It’swhentheyexistforusinourimagination,whentheyarestronglyinour
imagination.”ThisresponseresonatedinlightofDavid’squestionfromearlierinthe
day,whenheexpressedconfusionoverthinkinghewasbeinghimselfbutbeingtoldhe
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wasnot.Thisobservationwasunderscoredbytheapparentsurpriseshownbystudents
whentheaudiencelaughedastheyrecountedtheirflops;thesemomentsoflaughter
wereunderstoodasbeingsignalsthattheywerebeingtheir“trueselves,”butthesignal
wasexternalanddependentontheotherpeopleintheroom;nothingaboutthe
momentregisteredfortheperformersasmore“real”thanthemomentbefore.And
Paula,whohadn’tregisteredthelaughter,wasconfusedastowhenandhowshewas
“beingherself.”The“trueself”wasfunctioninginthiseventasanexternal,visible
markerthatproducedaparticularreactionintheaudiencewithoutnecessarilybeing
recognizedbythepersonobserved.
InsubsequentinterviewswithstudentsIraisedthisquestionofthe“trueself,”
askinghowtheywoulddefinethatconcept,andhoworwhetheronecouldknowwhen
onewasbeingone’srealself.Theanswerswerevariedandvague,thougheveryone
withwhomIspokehadastrongsensethattheyknewwhenthesemomentsoccurred,
thatsomethinghappenedtosignaltheemergenceoftherealself,thevisiblemarker
usuallybeingtheeyes.AndeveryoneIspoketohadatleastonestoryofamomentin
Gaulier’sclasswhentheyknewtheywerebeingbeautiful–whichwasnearlyalways
interpretedbystudentsasbeingthemselves–beforereceivingfeedback.Theeyes
emergedasthelocusofselfandbeauty—specifically,akindof“gleam”intheeyes.
Manystudentsdescribednon‐beautifuleyes,theeyesofaperformerwhowas
“performing”insteadofbeingherself,as“dead”andbeautifuleyes,whichweretaken
tosignifythepresenceoftheperformer’sself,as“alive”.Whilemostinitialdescriptions
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ofwhatdistinguishedthetwoplacedthemarkersontheperformer’sbody(particularly
theeyes),secondaryresponsestendedtorelocatethemarkerswithinthespectator:“I
feltmoreconnectedwithhim”;“Whenshebecamealiveandbeautifulsheexistedfor
meinmyimagination.”Interioritytakesontwoaspectshere:ageneralizedsensory
feelinglocatedwithinthebodybutwithoutaclearlocus,andtheimagination,where
theperformer’strueselfexistedwithinthespectator.
Corporealandcognitiveperceptionswereoftendescribedintandem,the
boundariesbetweenthetwofrequentlyelided.WhenIspokewithLiz,sheexplained
howsheknowswhenaperformerisbeingtrulyherorhimselfby“sensingit.”Iasked
herifshecouldbemorespecificaboutthissensing–whereonorinthebodydidshe
perceivethesensation?Andwhatwasthesensationof?Shehesitated,herbrow
furrowed,andreplied,“Idon’treallyknow.”Assheattemptedtoarticulateresponsesto
myquestions,herbodyenactedamovementthatIwasbeginningtorecognizeduring
conversationsonthesetopics:oneofherhandswenttoherchestandhoveredthere,
movingoutandbackasshesaid“Youjustknow,youfeelit,inhere…”
Therewasaperceptibledifferenceinexternalbodygesturesandtension
betweenthestatedescribedas“notbeautiful”/”performed”andthatlaudedas
“beautiful”/”yourrealself.”Myownobservationswereprimarilyofasofteningofthe
facialmuscles,whichwidenedtheeyesslightly,aslightextensionoftheneckupwards
accompaniedbytheheadmovingbackandup,andaslightdroopintheelbowsand
wristsasthearmmusclesrelaxed.Whenthisoccurredinthe“Describetousyourflop”
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exercisetobothPaulaandDavid,theaudiencebegantolaugh,andbothhesitated,
wideningtheireyesevenfurther,followedbyaslightfurrowingofthebrow.Ifound
myselflaughinginthesemomentsaswell;itappearedtomeasifasoft‐focusfilterhad
beenplacedinfrontofeachofthemforjustamoment;whenthemusculartension
returned,sharpfocusreturned.
“Vulnerable”wasanotherwordusedtodescribethisstatebybothGaulierand
thestudents.Therednosemaskisunderstoodtorevealtheperformer’s“inner
stupidity,”thetermnotmeantpejorativelybutinthesenseofthearchetypalfool,
whoseopennessandinnocenceallowsforthegreatestwisdom.Ibecamepersonally
convinced,earlyonintheclowncourse,thatthepedagogywasexperiential–thatwe
werebeingsetupforrepeatedfailureandhumiliationsothatwewouldbeginto
experiencetheactualstateoftheclown,whoisalways“intheshit.”The“describeyour
flop”exerciseconfirmedmysuspicions.Mostofthestudentswhocametotheschool
weretrainedperformers;wheneverytechniqueourbodieshadlearnedfailedtoplease
Gaulier,provokingthedreadeddrumbeat,themusclesinourbodiesfirsttensedeven
more–exaggeratingthetechniqueswithwhichourbodieshadbeendisciplined–then
slowlybegantorelax.Oftenthisrelaxationwasaccompaniedwithfeelingsbest
describedasfrustrationanddespair.Mostofuslookedliterallybeatendownbytheend
ofthethirdweek.
Ontheothersideofthespectrumwerethosestudentswhobecamemoretense
asthecoursesprogressed.Matt,a22‐year‐oldEnglishstudentwhohadbeeninthe
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“NeutralMask”workshop(andwasdiscussedinChapter3),seemedtohavea
perpetuallyfurrowedbrow,somuchsothatheoftenappearedtobesufferingfrom
painfulheadaches.Thebrowfurrowedthehardestassoonashegotonstage,mirroring
thetensionthroughouthisbody,atensionthatcreatedstiff,jerkymovementsthat
oftenprovokedlaughter–butadifferentsortoflaughterthanthatprovokedby
softening.HeaskedmorequestionsofGaulierthananyoneelseintheclass,andspent
Metrojourneysattemptingtoworkoutwhatitwasweweremeanttobedoing,since
Gaulierwasfamousforvagueinstructions(“befunny”),criticisms(“horrible–thankyou
goodbye”)andpraise(beautiful–shehassomething,no?”).
AlsointheincreasedtensioncampwasTim,anAmericanprofessionalmagician
whowasnewtoclownandtophysicaltheatretraininggenerally.Whenonstage,Tim
wouldputonacharmingsmileandsquinthiseyesinwhatIsooncametorecognizeas
hismagician’spersona.Throughoutthefourweeksheneverrelaxedthisfacial
expression,saveforacoupleofmomentsofa“dead”look,whenhisfacialmuscles
relaxedcompletelyandimmediatelyreshapedintoaresentful,slightlyangryexpression.
AndTimwasangry–hewasusedtostudyingwithteacherswhoexplainedtheir
methods,whoexplainedthetechniquestheywereteaching,andGaulier’sdeliberate
deflectionstohisprecisequestions(“WhatwasitexactlyaboutwhatIjustdidthat
wasn’tbeautiful?”“Heissexualfanatic,no?”)frustratedhimendlessly.
TheideaofbeingrootedinthepresentinGaulier’scoursewasconsistentlytied
totheideaofvulnerability.Theperformerwhowasvulnerablewascompletelyopen
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andabletorespondtowhatwashappeningbothonstageandintheaudience.One
studentlinkedthisopennesstothesenses:
Wetalkaboutthesamethingthatyougetthroughmeditation,asina
waysimilartowhatGaulieristeaching,theideaofbeingverypresent,of
beinghere,andbeingopen,andbeing,yoursensesbeingalertand
awakeandawareofwhatisgoingonaroundyou.Andthatmakesyou
sensitive.Andbeingvulnerable.Andbeingopentowhatever,whatever
happens.(Interview2008)
GiventhestructureoffailureandcriticismthatGauliersetupintheclassroom,
however,thislevelofvulnerabilitywasextremelydifficulttoaccessifapproachedasa
concomitantofrelaxation.Thepersistentthreatofthelouddeepresonanceofthehand
drumsignalingonetoleavethestageimmediatelykepttheleveloftensionhighon
stage.Thiswaslinkedbyonestudenttothedifficultiesofbeingopenandvulnerable
whiledealingwiththepressuresoflivinginParis:
And[vulnerabilityis]quiteadifficultthingtokeepup,Ithink,particularly
ineverydaylife,becauseyouhavesomanysituationswhereyoucan’t,
youhavetohaveabitofafront,justtosurvive.ParticularlylikeinParis
[laughs].AndIremembertalkingtoColin,andthisisthekindofparadox,
Ifind,ofaschoollikeGaulierisbeinginParis,isthatIthink,I’venever
feltlikeIneedtotougherthanwhenI’velivedinParis,andatthesame
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timeI’mgoingtoaschoolthat’stryingtoteachmetobesensitiveand
open.(Interview2008)
YetthevulnerabilitythatGauliersoughtwasnottherelaxationachievedthroughfeeling
safeandsecureinone’shabitualpersona,buttheopennessofdisorientation,ofbeing
betweenthoughts,caughtinthemomentofthemistake.SimonMurraydrawsauseful
distinctionbetweentheopennessandpleasureofplayandafeelingofself‐satisfaction:
ForLecoqandGaulier,thepleasureofplayisnotsimplysomekindof
self‐indulgenttomfoolerywherehavingawonderfultimeisthekeyto
creativityandeffectiveacting.Rather,anabilitytoplayismoreabout
openness,awillingnesstoexplorethecircumstancesofthemoment
withoutintellectual‘editing’,butwithinasetofrulesorexpectations
germanetothestyleorformoftheatreunderinvestigation.(Lecoq50)
Inpursuitofcreatinggenuineifuncomfortablemomentsofdisorientation,Gaulier
frequentlysetupsituationswithinexercisestoconfusethestudent.Onthesecondday
oftheworkshopheaskedtenstudentstodancearoundthestagewithrednosesonto
vibrantmusictakingpleasureinimitatingfish.Wehadbeendancingforabouthalfa
minutewhenthedrumwashitandGauliercalledouttoMiho,ayoungJapanese
woman,thatshewasimitatingthewronganimal;hetheninstantlyhitthedrumagain
andshouted“Go!”FivesecondslaterhestoppedtheexerciseonceagaintotellMiho
shewasdoingitwrong,andthenhaduscontinuedancing.Thehigh‐pacednatureofthe
exerciseandintermittentandconfusingcriticismsledMiho,whohadsomedifficulty
239
understandingGaulier’sEnglish,tobethoroughlyconfusedastowhathewasaskingher
todo;shelatchedontomeandtriedveryhardtoimitatemymovements,whichwere
impededbyaninjuredkneeandlookedmorelikeastrangesortofdancinghorsethana
fish.Theintensityofherconcentrationon“gettingitright”whileinadvertentlygettingit
completelywrongledtoimmenselaughterfromtheaudience,andafinal
pronouncementfromGaulierandseveralstudentsthatherperformancewasbeautiful
andopen.
Conclusion
Miho’sexperienceofconfusionoverthereasonfortheaudience’slaughter
pointstoafeatureofdisorientationthatchallengesconventionalunderstandingsofthe
selfaslocatedwithinthecoreofthebody(asrepresentedbythegestureofpointingto
thechest),accessibleandrecognizable.Itpointstoaselfthatwasnegotiatedexternally,
inthespacebetweentheperformerandspectator,astheperformer’sbodysignifieda
selfthatcausedthespectatortorespondwithlaughter,evenastheperformerwas
unawareofthiscommunication.Duringtheflopexerciseinthethirdweek,Davidhad
addressedthisissuedirectly;hisquestionpointedtoashiftingpositionalityoftheselfin
Gaulier’sclassroom:attimesthestudentfelttheemergenceofhisorher“trueself”
fromwithin;attimestheselfseemedtobelocatedexternally,inthegazeofthe
spectator.Whetherornotthestudentbelievedhewasbeinghimselfinthislattercase
didnotmatter;thiswasa“self”locatedintheeyesofthebeholder—specifically,inthe
240
perceptionsofthespectatorswatchingtheperformance.Theexternalcueofthe
audience’slaughtermarkedthesuccessfulperformanceoftheself;theperformerrelied
onhearingspectators’laughtertoknowhewas“beinghimself”.Thisshiftinglocusof
theselfinGaulier’sclassroomcontainstracesoftheself’smulti‐positionalityinNajac’s
mirrorexercises,inpsychoanalysisinwhichthepatient’ssymptomswerereadbythe
externalanalyst,andinLecoq’sdiscoveryofthemomentofastudent’sconfusion,a
momentthatprovokesaudiencelaughter.
Authenticitywasidentifiedintheearlytwentiethcenturywiththeunconscious,
positioningtheideaofthe“true”selfbelowconsciousness,perceptibleonlythroughthe
embodiedsymptom.ThepracticeswithwhichstudentsengagedinGaulier’sClown
workshoppointstothislocusoftheselfbelowconsciousness—ormoreaccuratelyin
thelanguageofmasktraining‘behind’consciousnessastheperformer’sfaceisbehind
themask—sincetheselfstudentsunderstoodthemselvestohavewaspositionedasa
persona,oraperformanceofsocially‐constructedbehaviorsthathadaccruedwithin
consciousnesstomeanthe“self’.David’sarticulationofthisstrugglewithaperceived
self(“IthinkI’mbeingreal,andbeingmyself,butapparentlyI’mnot,becauseI’mnot
beautiful”)illustratesthepowerofa“self”identifiedwiththataspectofconsciousness
thatperceivesandcategorizes—the“ego”inFreudianterminology.Jouvetmighthave
calledthisa“monstrousegotism”,anover‐accretionofthesenseofselfthatironically
preventstheperformerfrombeingtrulyauthentic,fromactingfromaplaceofinstinct.
241
Gaulier’spedagogyofdisorientationwasdeployedasastrategytohelpstudents
encounterthisotherself,theselfofinstinctandtheunconscious,byshort‐circuiting
habitsofthoughtthatcouldonlyproduceapersona.The“true”selfofinstinctandthe
unconsciousisnecessarilyonlyperceptibletospectatorswithinthestudent’smoment
ofdisorientation,sinceassoonasthestudentbecomesawareofa“self”ithasalready
beencollapsedintoasystemofconsciouscognition.Students’difficultywithverbally
articulatingthis“true”self,theselfmarkedbythevaguecategoryof“beauty”,pointsto
thepositioningofthisconstructionofselfoutsideofconsciousness.Therepeated
embodiedgesturesandreferencesthataccompaniedtheseattemptsatarticulation—
touchingthechest,pointingtotheeyes—furtherlinksthisconstructionofselfwiththe
Freudiansymptom,thebody’sevidencethatisonlylegibletotheexternalobserver.
ReturningtoPhilipAuslander’scritiqueoflogocentrismasdiscussedinChapter
1,themomentofdisorientationinGaulier’sclownclassroomwasmeanttorevealan
“authentic”selfratherthandisruptingtheveryideaofauthenticity.YetIbelievethereis
somethingvaluableoccurringinthesemomentsinwhichstudentsshiftoutofexisting
habitsintosomethingthatcannotbeclearlydefinedorcaptured.Perhapsthisvaluelies
inthemomentaryexperienceofadisruptedpatternofthoughtandbehavior,a
disruptionthatmightallowforareorganizationofthesepatterns,orevenprovidean
experientialencounterwithwhatitmightfeellikenottohaveapatternforjusta
moment.Again,theidentificationofthesemomentsofdisorientationwithauthenticity,
withthe“true”self,worksagainstthislatterpossibilitybyassumingastableselfthatis
242
more“true”thanthehabituatedself.ButIwouldliketosuggestthatwhilethelanguage
remainedlogocentric,theexperience—dependantondisorientation—resisted
collapsingthemomentintoasingularideaof“self.”
243
Conclusion
The challenge for the student actor … is to understand and control theirmovementanditscultural,theatricalandprofessionalsignificance,whilstatthesametime‘losing’and‘finding’themselvesintheever‐changingexperiencethatistheirownbodyandtheirconsciousnessofthatbody.
MarkEvans2009(184)
InthisdissertationIhaveidentifiedandtracedkeyideaswithintheFrenchmime
traditionfromthelatenineteenthcenturytothepresentincludingtheideaof
automatismethatemergedinFrenchpsychologyinthelatenineteenthcentury
alongsideJanet’sdevelopmentofl’idéedumoi[theideaofme];nineteenthcentury
Frenchmimepractitioners’simultaneousfascinationandrepulsionwiththeideaof
bêtism;andtheshiftingunderstandingofsang‐froid[cold‐blooded]fromaproductive
distancinginthenineteenthcenturythroughCopeau’srejectionofthe“freezingofthe
blood”intheearlytwentiethcenturyandhisresultingdevelopmentofthemasque
noble[noblemask]formtofreethestudenttomovemorenaturally,throughtothe
innerdistancingofLecoq’slejeu[theplayorthegame]pedagogyandGaulier’sideaof
pleasure.IhaveidentifiedwhatIterm“contaminationanxieties”atplaywithinthese
shiftsinFrenchmime,arguingthatthecontinualmovementtowardsminimalism
revealsamistrustoftheexcessiveorunrulynon‐white,female,workingclassbody.Just
asthemask‐likewhitefaceandrigid,mechanicalbodyofthelate‐nineteenthcentury
Pierrotperformativelytheorizedthewhite,elitemalebody,asFrenchmimemoved
throughthetwentiethcenturythebodiesitproducedweremarkedbystraightlinesand
small,subtlemovements,privilegingagainthewhite,male“contained”bodyagainstthe
244
non‐white,femalebodyoffluidityandexcess.ThepracticeofNeutralMask,for
instance,askedthestudenttostraightenthelinesofthebody(headdirectlyabove
torso,torsoabovehips,hipsfacingforward,armsstraightatthesides)andmoveina
morerigidmannermarkedbyclearbeginningsandendingsofgestures.Thispractice
straightenedthecurvesofthefemalebody,whichtendstowardsbreakingthestraight
lineofhead‐torso‐hips,andbendingthejointsduringgestures.Thisdiscipliningofthe
bodyintoanefficientmachinethereforepositionsfemalemovementsasexcessive,
equating“neutrality”with“male”.Similarly,Clownpedagogylinkssubtlemovements
withauthenticity,privilegingaminimalistexpressivestyleoverlargergesturesthata
studentlikePaulabroughtwithherfromherBrazilianclowntraining,whichbecame
definedinGaulier’sclassroomasinauthentic,themovementsofan“actress”rather
thana“beautiful”human.
Ihavetracedtheideaofautomatismeaslinkedtoauthenticityfromthelate
nineteenth‐centuryperformedbodyofPierrotthroughtwentieth‐centuryFrenchmime
andthedevelopmentofLecoq’spedagogy.Inlatenineteenth‐centuryFrance
automatismeoperatedbothasamarkerofauthenticbodilyaction(theinvoluntary
movementsproducedbythesubconsciousmind)andasarigid,mechanicalmimestyle
thatdistancedtheperformedbodyfrommarkersoftheorganicsuchasfluid
movementsandlargeemotionallyexpressivegestures.Thisemphasisonaminimalist
andmechanicalmimestylereveals,Iargued,contaminationanxietiesaroundthepurity
ofthewhite,elitemalebody,particularlyastheperformedbodyofPierrotemerged
245
frompopularcommediaperformances,Parisianstreetclownsinthefirstdecadesofthe
nineteenthcentury,andtheFrenchcircustraditionthatincludedtheracially‐mixed
whiteFootitandblackChocolatpairing.FootitandChocolatwereoneofthemost
famousWhiteClown/AugusteduosintheFrenchcircusofthelatenineteenthcentury.
Chocolat(RaphaelPadilla)wasborninCuba,andasateenagerwassoldintotheservice
ofawealthyPortuguesemerchantwhotookhimtoPortugal.Padillaescaped,movedto
Bilbao,andbeganperformingincabarets,wherehewasnoticedbytheclownTony‐
GreacewhobroughthimtotheFrenchcircus(Towsen219),gainingfameastheclumsy
foolpairedwiththecruel,authoritativeFootit.ThevisibilityofblackbodiesinFrancein
thenineteenthcenturylayinpartinsuch“freak”performancespacesasthecircusand
theexhibitionhall,wherethe“savage”blackbodywasputondisplayaspartofan
anthropologicalfocusondifferentiatingthebodiesofthewhiteEuropeanbodyand
blackAfricans.59TheFrenchcircusasperformativedisplayofthe“freak”bodyinthe
nineteenthcenturyisthereforeafurthersiteforstudiesinthisarea,astheexcessive
bodiesthatlatenineteenth‐centuryFrenchmimepractitionersreactedagainstintheir
constructionofthepure,white,elitefigureofPierrotcanthereforebelocated,inpart,
inthissiteofpopularperformance.
59 See,forinstance,LouisFiguier’sLesraceshumaines[publishedinEnglishasHistoryoftheHumanRace](1872),inwhichheextensivelydescribestheinferiorphysicalandcognitivecharacteristics,incontrasttothoseofwhiteEuropeans,ofthepeoplelivinginDahomey,aWestAfricankingdom(today’sBenin)thatFrancehadbeguntocolonizeinthemid‐nineteenthcentury.
246
Themechanicalbodyofthelatenineteenth‐centuryPierrotthereforeserveda
dualfunction:toprotectthepurebodyfrom(racial,gendered,class‐based)
contamination,andtomore“authentically”portraysubtletiesofthoughtandemotion
inanerainwhichpsychologistsandmimepractitionersviewedthesmall,rapid
movementsofautomatismeasmoreauthenticallyrevealingoftheinnerself.Copeau’s
searchforauthenticityinhisdevelopmentofanearlytwentieth‐centuryFrenchmime
styleledhimtopursueanidealofneutralityasabodyfreeofidiosyncrasyand
expressionandtherefore,forhim,moreauthentic.Theconstructionoftheneutralbody
intheFrenchmimetraditionofthelastcenturyprivilegesstraightlinesand“efficient”
movementpositionedagainstexcessivegesture,anechoingoflatenineteenth‐century
minimalistmimetechniquesthatpractitionersbelievedmoreaccuratelyconveyedinner
reality,definedasthoughtandsubtleemotions.Thisemphasisonsubtletyisrevealing;
whenstudentsinGaulier’sNeutralMaskworkshop“expressed”throughtheirbodiesin
non‐linear,minimalistways—suchasAnafromGreecewhoarchedherheadbackina
chorusexerciseorTammyfromNewZealandwhostrugglednottoswayherhipsasshe
walked—Gaulier’sfeedbackwasthattheywerepushingtoomuch,addingunnecessary
movementtothemask,notandthereforenotneutral.Neutralityherebecomesa
particulartypeofdisciplinedbody,onethatmovesinstraightlineswithsmall,
“efficient”gestures,amovementstylethatisarguablygenderedmaleagainstthe
fluidityandcurvesofthefemale‐genderedbody.Thisisaneutrality,furthermore,that
privilegesanAnglo‐Americanminimalistgesturalstylethatdevelopedwithinanacting
247
discourseofnaturalisminthelatenineteenthandearlytwentiethcenturies,and
thereforeexcludesthegesturalstylesofstudentsfromotherculturessuchasGreece
andBrazil.Thisformof“neutrality”,then,representsareemergenceofcontamination
anxietiesinthetwenty‐firstcenturyclassroomaroundissuesofnon‐whitemale
embodiedpractice;theunruly,excessivebodiesofstudentswhousemorephysically
expressiveculturalcodesandparticularlyofwomenaredisciplinedwithinNeutralMask
trainingtoperformwithstraight,linear,minimalistphysicalgestures,aperformance
identifiedintheFrenchmimetraditionwiththeneutral—andthereforeuniversaland
authentic—body.
Automatismeintersectsonceagainwithl’idéedumoiinGaulier’sClown
classroom,inwhichGaulieridentifiestheauthenticselfasthatwhichemergesin
momentsofdisorientation,whentheconsciousmindandthementalandembodied
habitsthataccompanyit(whichechoJanet’sdefinitionofl’idéedumoi)issufficiently
distractedthroughamomentofsurprisethatthe“real”,“true”selfthatliesbeneath
emerges.AswiththeNeutralMask,theembodiedpracticesthataccompanythese
momentsof“findingone’sclown”aremarkedbyminimalism:lackoflargegestural
expressivityandmusculartension.TheclowninGaulier’sclassroomcanperformlarge
gesturesinplay,butmustalwaysmakevisiblethe“pleasure”behindthegesture,a
distancingeffectthatpositionstheperformerasopenandvulnerable,unattachedto
theemotionsheorsheisportraying.WhenPaulamovedherbodyinthestyleofthe
Brazilianhospitalclownwithlargeexpressivegesturesofjoy,Gaulierdenouncedthese
248
gesturesasthe“horrible”gesturesofan“actress”infavorofthesubtletyofphysical
markersof“openness”(relaxedmuscles,subtlemovements)thatrepresentedpleasure
withinhispedagogy.Onecandiscernhereanechooftheminimalismencouraged
withintheFrenchmimetraditionduringthelatenineteenthcentury.Despitethe
apparentchangesmadebyCopeauintheearlytwentiethcenturytomimepractice,the
momentsofshiftinFrenchmimetowardsmore“natural”performancestyleshave
tendedtofollowapatternofpositioningtheearlierstyleasartificial,thenewstyleas
natural,withaconcurrentmistrustoftheexcessivebody(largebodilygestures,organic
markerssuchasfluid,curvedmovements)accompanyingthedefinitionofthe“natural”.
Alongsidetheseshiftstowardsamore“natural”performancestylehasbeena
concernwithauthenticallyrepresentinginnerexperience.Inthelatenineteenthcentury
thefocusofinnerexperiencebecameincreasinglycerebral,aspantomimescripts
increasinglyreferencedcharacters’thoughtsascontentthatperformerswouldconvey
throughsilentgesture,andGeorgesWague’smimetheorypositionedthoughtatthe
coreofgesturalvalidity—themorethatgestureexpressedthought,themoreit
representedtheperformer’sinnercondition.Thisprivilegingofcerebralprocesscanbe
discernedintwentieth‐centuryconcernsoverthe“neutral”bodythatremovephysical
markersofidiosyncrasy(therebyshrinkingthebody’sexpressivity),yetisapparently
challengedinclowntrainingthatdemandsinstantreactiontoastimulus,achieved
throughastateofdisorientation,withnorecoursetoapre‐existingidea.Yetinoneof
theparadoxesofthepractice,clowntrainingretainstheconcernwithtruthfully
249
representingtheperformer’sauthenticinnercondition,andmistruststhebody’s
excessiveexpressivityindenotingthisauthenticity.Theauthenticselfsoughtthrough
clowntrainingisindividuated(itisanideaoftheperformer’suniqueself),yetis
simultaneouslyonlyconstitutedsociallyinthespacebetweenperformerandspectator,
whentheperformer’sbodyletsgoofitsexcessivehabitsofexpressivemovement.
Theconstructionsofbodyandselfthatemergedinlatenineteenth‐andearly
twentieth‐centuryFrenchmimearenotstraightforward,singularideasthathavebeen
appliedmonolithicallyinmimetraining,noristhereoneclearideaofwhatthe“body”
and“self”signifyinthetwentyfirst‐centuryphysicaltheatreclassroom.Rather,
studentsandteachersinthetraditionofFrenchmimeinthetwentyfirstcentury
continuetoengagewiththebodyandtheselfinwaysthatbothrevealtracesofearlier
constructionsandredefinethemfortwentyfirst‐centuryLecoq‐basedtraining,muchas
Evansdescribestheprocessofcontinually“losing”andthen“finding”oneselfinthe
experienceofmovementtraining.Itisperhapsappropriate,then,thatthepedagogical
practicethatformedthecoreofmyanalysiswasa“pedagogyofdisorientation”,
introducedandcontextualizedinChapter1,asastrategyusedstrategicallytohelp
studentsencounternewwaysofmovingandperceivingthemselves.Ibelievethatthe
practiceof“losingone’smooringstothefamiliar”(Magnat74)appliesbothtothese
strategicpedagogicalaimsandtoalargerprocesscontinuallyoccurringwithinthe
Frenchmimetraditioninunderstandingsandconstructionsofthebodyandtheselfare
continuallyinflux.Ihaveaimedinthisresearchtoanalyzeanddrawconnections
250
betweenthebodyasitmovesandisarticulatedwithinthemomentofclassroom
practicesofFrenchmimeinthetwentyfirstcentury,andhistoricalconstructionsofthe
bodyandtheselfthatproducedthispedagogy.WhileexistingworkonLecoq‐based
pedagogytracehisinfluencesbacktoCopeau,inChapter2Ihavelookedfurtherbackto
theFrenchmimepracticesofthelatenineteenthcenturytointerrogatewhat
understandingsofthebodyandoftheselfFrenchmimepractitionersweredrawingon
inthetwentiethcentury,andinChapters3and4Ihaveanalyzedtwenty‐firstcentury
classroompracticesthroughthelensoftheseconstructions.
Continuingthisthemeofongoingengagementwithconstructionsofbodyand
self,Iviewmyresearchasyetanotherencounterwiththeseideasandpractices,rather
thanasadefinitiveaccountofhowLecoq‐basedpedagogyfunctions.Ibelievethatthe
relevanceofmyworktothefieldoftheatrestudiesliesinmyassertionthatphysical
theatreprovidesanotherwayoftalkingaboutthebodyassomethingotherthanan
inanimateobject,andmakesastrongcontributiontothefieldofcriticalpedagogyby
examiningaclassroompracticethatcanbeanalternatetotheteachingmodelof
studentperformanceofthedisciplinedbodythatbracketsoutitsthinkingaspectand
encouragesstudentstoperform“successfully”inhabituatedways.Myresearch
representsasignificantinterventioninthefieldoftheatrestudiesastheonlypractice‐
basedstudy(withresearchconductedintheactualmomentoftheclassroom)and
theoreticalanalysistodateonLecoq‐basedperformancepedagogy,apedagogythatis
growingandgaininginfluenceinthetheatreworld.Whilethebodyistalkedabout
251
extensivelyincriticalpedagogy,andtheperformance‐basedclassroomisrecognizedas
apotentsiteforinvestigatingthebody,veryfewactualpractice‐basedstudieshave
beenconductedinthesesites.
Thefieldofactorpedagogyhasgenerallydefinedaclearseparationbetween
whatJosephRoachterms“mechanistic”and“vitalist”approaches(1985).Myresearch
seekstocomplicatethisdistinctionbysuggestingthatFrenchmimepracticesfromthe
latenineteenthcenturytothepresenthavebeenengagedinanenactmentofboth
mechanisticandvitalistpracticesthroughacomplexrelationshiptoideasofthenatural
bodyandtheself,inwhich“natural”expressionexistsside‐by‐sidewithmistrustof
corporealityandcontamination,NeutralMaskpedagogydrawsonbothavaluingofthe
naturalbodyasfreefromsocially‐constraininghabitsofmovementandapositioningof
thebodyasamachinetobecontrolled,andClownpedagogybothreinscribesand
disruptsideasofthe“authentic”self.Iviewmyresearchasaninitialinquiryintothe
complextopicofthebodywithinLecoq‐basedpedagogy.Byobserving,documenting
andanalyzinghowthesetechniquesaretaughtandwhatphysicalprinciplesare
involved,andbyidentifyinga“pedagogyofdisorientation”withastrategyforhelping
studentsencounternewwaysofbeingandinterrogatingthisstrategyforthemodelof
thebodyandselfthatitconstructs,Iintenditasagroundedcontributiontothegrowing
fieldsofcriticalpedagogy,bodystudiesandactingtheory,andasacriticalpedagogical
referencefortheatreartistsandothereducators.IhavefocusedonaWestern
conceptionofthebody;furtherresearchinthisfieldcouldbedonearoundquestionsof
252
howbodiesmarkedbydifferentculturalpatternsofmovement,ethnicities,
socioeconomicclassesandgenderspecificallyencounter,challengeandcontinueto
shapethispedagogy.Ithereforehopethatmyresearchbothaddstoagrowingscholarly
discussionofLecoq‐basedtheatreandopensfurtherlinesofinquiryintothebodyinthe
classroom.
253
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