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.
DOI
10.5642/mimejournal.20172601.06
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/
Recommended Citation
Leabhart, Thomas and Leabhart, Sally
(2017)
"Edward Gordon Craig's Übermarionette And Étienne Decroux's "Actor Made Of Wood","
Mime Journal:
Vol. 26, Article 6.
DOI: 10.5642/mimejournal.20172601.06
Available at:
https://scholarship.claremont.edu/mimejournal/vol26/iss1/6