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A mime or mime artist is a person who uses mime as a theatrical medium or as a performance art. Miming involves acting out a story through body motions, without the use of speech.
Table of contents

Although it shares certain plot similarities with other revenge tragedies — a secret murder, a ghostly apparition, a bloody resolution — the ambiguities of Hamlet allow it to defy strict classification, enabling every actor, reader, or theatregoer to consider the play anew upon each new reading or viewing.

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For the Arden Third Series edition of Hamlet , editors Ann Thompson and Neil Taylor chose to reject the traditions of elevating one text above the others or creating a composite text from all three versions. Instead, Arden offers clear, modernised versions of all three texts. It has been argued that this version is from a copy prepared for performance, possibly by Shakespeare and fellow company members, as the play contains fuller and more systematic stage directions than Q1 and Q2. The supposed proximity of Q2 to the authorial hand has therefore led this text frequently to be chosen as the authoritative version of Hamlet.

Although it resembles the Folio text, both contain a number of unique lines.

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A wordless form of entertainment, in which movement and gesture are used to communicate. The term comes from the Greek word mimos, meaning imitator. Early Greek mime is thought to have originated in about BC in Megara; it had some basic dialogue but emphasized physical action.

Oriental dance-dramas

Surviving examples of Greek mime are mainly burlesques of myths or satirical playlets about domestic situations. Small troupes of Greek mime artists probably performed at banquets in the 5th century BC, making them the earliest known professional entertainers. The troupes included women, many of whom were also prostitutes. The performers wore distinctive costumes but no masks; mime performers were never admitted to membership of the Artists of Dionysus. In Greek southern Italy a type of mime play known as the phylax became popular.

According to tradition, he turned to mime when his voice failed after a series of performances. In Imperial times the mimus, a type of bawdy knockabout farce, and the performances of the lascivious pantomimus became popular.

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But when they strut their skills more playfully, their techniques are a wonder. Blake Habermann, Ms. Baumwoll and newcomer Regan Sims are almost impossibly emotive, threatening to crack their pancake makeup with the force of their smiles and frowns. Sometimes there are no words. Similarly, death is seen as no more than the vulgar end of life, after which, nothing.

The after-life is a constant preoccupation of Beckett's earlier and subsequent plays, and indeed most certainly the setting of most of the plays the Roughs. The unique experience these plays are for an audience, the result of what Ruby Cohn has called "theatereality"11, is that of participating in the fate of the characters to an extent.

Beckett highlights, and has always highlighted, the presence of the audience in the auditorium as inherently part of the drama being played out on stage, provoking audience laughter, and immediate Godot, Endgame and Happy Days all do this in different ways:. Gestures towards front] There! Not a soul in sight! Off you go. Estragon recoils in horror. CDW, p.


Mime and pantomime

Strange feeling that someone is looking at me. I am clear, then dim, then gone, then dim again, then clear again, and so on, back and forth, in and out of someone's eye. Hail, holy light.

Early Western forms

She closes her eyes. Bell rings loudly. She opens eyes at once. Bell stops. She gazes front. Long smile.

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Smile off. Long pause. Apart from direct references to the audience being physically present in the shared theatre space, from Godot onwards, characters on stage become the audience for other characters, if they do not in fact seek an audience, as Pozzo does with Didi and Gogo "Is everybody ready? Is everybody looking at me? Do you want to listen to my story? Finally, in the first play written in English after the period during which Beckett wrote the two Roughs, Play, the final words spoken refer to the presence and action of the audience:.

Just looking. At my face. On and off. In my face. Some truth.

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In my eyes. Not even. No mind. Opening and shutting on me.

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Am I as much -[ Now, the role played by the audience in Beckett's plays has been intimately associated with the Irishness of the plays themselves. Anthony Roche says that:. Beckett's own drama bears an Irish cultural and theatrical dimension that has for too long been overlooked. And it is the role demanded of the audience that I would most emphasise, the rupturing of a rigid separation between those on-stage and those in the audience, and the subsequent act of mere empathy. This description of the way the spectator is brought into a Beckett play explains the effect of all Beckett stage plays on the audience, both the initial two written in French, and the later Irish ones.

However, this function is absent from the two Roughs. Indeed, Rough for theatre 1 posits the encounter between A and B as that between the last two living and therefore explicitly excludes the audience from participating in the exchange. The case of Rough for theatre 2 is slightly less straight-. A goes to window; strikes a match, holds it high and inspects C 's face. The match burns out, he throws it out of window.