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Abstract/Synopsis

Thomas Leabhart testifies to Edward Gordon Craig’s continuing influence on postmodern mime and movement. Leabhart discusses the influences that shaped Craig’s theory of acting. He then considers what the living actor and Craig’s “übermarionette” have to say to each other, putting pressure on the binary between human and non-human performers, especially in physical theater. Himself a student from 1968-72 of Étienne Decroux, the French corporeal mime and teacher whom the elderly Craig recognized as an “artist of the theatre,” Leabhart relates how he carries on Decroux’s pedagogy and legacy as a performer and teacher of corporeal mime.

First Page

34

Last Page

42

Rights

© 2017 Thomas Leabhart and Sally Leabhart

Terms of Use & License Information

http://creativecommons.org/licenses/by-nc-nd/4.0/

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