ANIMATING MIME EXERCISES

I'm not working right now so I spent part of my day yesterday animating on my ipad mini and reading notes I took on a book about mime. I'm not thinking about becoming a mime...I just wondered if they might know some things that animators could use.  Anyway, it occurred to me that I might combine the two things by animating a couple of standard mime exercises on the ipad. I could do it rough, with stick figures...it might not be much trouble.

Is it a good idea? Probably not. Even so I'll try one or two. If they don't work out there's always the "delete" button.

If anyone reading this has studied mime maybe you'll recognize this exercise:

Let your attention go to a particular part of the body. It's a soloist. Let that part do something people might like to watch, and keep the rest of the body relatively still.  Gradually let the body join in, in the role of a chorus or a counterpoint. 

Here's another one:

Posit that you have a safety zone, a circle about two feet in diameter. It might be a place of fun while the outside world is one of drudgery, or it could be a place of relaxation while the rest of the world is full of high tension. When you're in it you're safe, but you're allowed to stay in there only for a few seconds then you have to leave.

Interesting, eh?

BTW: The pictures illustrating the end of this post are all of pantomimists, which makes them mimes of a sort. Pure mime is more stylized than pantomime. It's like ballet in that it requires a beautiful silhouette and graceful, silent actions. Pantomime isn't as physically demanding but it's funnier and may allow an occasional spoken word.

Shown are Mr. Bean, Sid Caesar and Imogene Coca, and Red Skelton.

ARE CLOWNS FUNNY?

No, of course they're not, though there are exceptions. In circuses they're a necessary change of pace. In fact, it's hard to imagine a circus without them. But the circus is their domain. Why do they seem so out of place in the real world?

The history of clowning is an odd one. Apparently part of the appeal of clowning was that they got away with social satire that would have landed ordinary people in jail. They paid dearly for that freedom by confining themselves to strident, way-over-the-top slapstick. Maybe by imitating crazy people they were asking to be regarded with the deference that society grants the mad.

Clown humor is so different than modern humor, so different even from modern slapstick like the kind The Three Stooges did, that I sometimes wonder if modern humor came from entirely different roots.

Here's a painting about two different types of clowns who meet on the street and fight by proxy through their dim-witted footman.

It seems that people have had the urge to do violence to clowns for a very long time.

Here (above) a woman appears ready to deliver an eye-gouge to an already wounded clown. That's a really terrible thing to do, but it shows you how clowns were regarded. Or maybe she's just gouged the poor man. If so, she doesn't appear very sorry about it.

Early clowns wore a specific costume, denoting the exact type of comic character they were portraying. Woe unto the clown who wore the cuckold's uniform when he was instead portraying a dullard.

Clown costumes were sometimes exaggerated versions of the fashion of the day, but it's hard to resist the notion that they also gave birth to some of those fashions.

Were the people who used clothing to make funny alterations in their body shape in the 17th to 19th centuries actually trying to dress like clowns? After all, people envied clowns for their ability to say things nobody else could. When a lot of people dress that way, maybe a desire for freedom of expression and a new social order is indicated.

P.S.: None of this applies to mimes, who I have new respect for, after having tried to walk like they do.