Mime is the actor, its acting before it is corrupted by speech. Mime is the substance of theatre as opposed to its accident, literature. By learning the axioms of the body and experimenting harmony and virtuosity, mimes perform as they would and not just as they could. From the very inception of a true language of the body, one with a potential for refinement close to that of human voice, actors can no longer justifiably behave in a trivial manner.
The artist of the body is conscious of what he does when he chooses, through silence, to transgress speech; he nurtures countless portraits of reality through his manners of being and behaving. All else is anecdotal and of little interest.
Mime focuses on the framework of acting, as it is not depraved by any aesthetic or literary complement. The mime’s body is pushed or enthused by its thinking, not the other way around.
For this contributing text WMO whishes to thank l'École de Mime Lárt du corps (www.mimeomnibus.qc.ca)