School of Corporeal Mime

DOCENTI

TEACHERS

DOCENTI

TEACHERS

DOCENTI

TEACHERS

  • La Scuola di Mimo Corporeo, unica in Italia nel suo genere, fu fondata nel 1985. Nel 2020, con il riordinamento dei corsi offerti, è diventata Accademia Mediterranea Mimodramma. Il Mimodramma si identifica nel programma didattico con l’idea di ‘Mimo Azione’ e quindi dell’uomo performer, corpo mente in azione; ecco lo sviluppo e lo studio della parola da coniugare all’atteggiamento e al movimento.

    Fondamentale è, quindi, la pratica e la conoscenza del Mimo Corporeo come imprescindibile punto di partenza e da legare organicamente alla vocalità, all’interpretazione in versi, alla scherma teatrale, alla maschera e alla drammaturgia dell’attore. In pratica l’Accademia Mediterranea di Mimodramma promuove ciò che Decroux definiva, tra le varie categorie da lui indicate del mimo, Mimo Attore.

    Non è un caso che l’ICRA Project affonda le sue radici, oltre che nelle importanti pedagogie de ‘900, anche nell’antico teatro greco-romano dove il mimo, benché impegnasse notevolmente il corpo, utilizzava la parola in prosa (mimologia) o in versi (mimodia).

    Le tre pedagogie di riferimento dell’Accademia Mediterranea Mimodramma fanno capo ai maestri Etienne Decroux, Jacques Lecoq e Moshe Feldenkrais. A queste si affiancano esperienze tecniche e poetiche relative a figure quali Jacques Copeau, Vsevolod Mejerchol’d, Georges Ivanovič Gurdjieff, Monika Pagneux, Marise Flach, Vera Bertinetti.

    L’Accademia Mediterranea Mimodramma ha una vocazione internazionale sia nella didattica sia nell’offrire masterclass, seminari e convegni con maestri provenienti dalle principali accademie d’arte drammatica d’Europa.

  • Inoltre, attraverso le sue intense attività artistiche e pedagogiche, ha instaurato da sempre rapporti di collaborazione con importanti istituzioni nazionali e internazionali, quali:

    • Accademia Nazionale d’Arte Drammatica Silvio d’Amico di Roma
    • Università Federico II di Napoli
    • Università di Bologna, cattedra di Storia del teatro e dello spettacolo, DAMS, Bologna
    • Università degli Studi di Salerno
    • Università degli Studi di Urbino Carlo Bo
    • Università La Sapienza di Roma
    • Università Pontificia Salesiana, cattedra di Storia del Teatro, Roma
    • RUDRA Béjart di Losanna (Svizzera)
    • École Internationale de Genève (Svizzera)
    • Escuela de Actores de Canarias, Las Palmas de Gran Canaria (Spagna)
    • Guildhall School of Music and Drama, Londra (Regno Unito)
    • Lietuvos muzikos ir teatro akademija, Vilnius (Lituania)
    • Istituto Statale Russo delle Arti Performative, San Pietroburgo (Russia)
    • Pomona College, Claremont, California (USA)

    Lo studio del Mimo Corporeo ha un posto principale nell’Accademia Mediterranea Mimodramma, e si basa sulla ricerca e sulla esercitazione della grammatica elaborata da Etienne Decroux (Parigi 1898-1991). Il maestro francese è stato il geniale rifondatore del mimo nel Novecento e di parte del teatro contemporaneo.

  • Saranno soprattutto gli anni tra il 1930 e la metà degli anni ’70 i momenti fondamentali della ricerca decrouiana che gioveranno molto ai suoi più geniali allievi e tra i tanti si ricorderanno Jean Louis Barrault, Eliane Guyon, Marcel Marceau, Marise Flach, Jessica Lange, Michel Serrault e Thomas Leabhart. Registi come Antonin Artaud, Jacques Copeau, Charles Dullin, Gordon Craig e tantissimi altri artisti lo stimoleranno ad intraprendere la sua ricerca in maniera “feroce” (secondo una definizione di Gordon Craig sul metodo di Decroux) e per decenni lo si vedrà impegnato a rifondare un'arte del Mimo in chiave moderna.

    La parola per il maestro Decroux aveva un immenso valore; ricordiamo a tutti che egli è stato un fine dicitore ed un ottimo attore in teatro, cinema e radio e teneva moltissimo alla chiarezza della versificazione e alla dizione.

    All’Accademia Mediterranea Mimodramma, lo studio della parola, pertanto, sarà l’elemento di conquista di un processo di esplorazione e conoscenza nella lettura, nei versi composti, negli accenti ritmici, nelle figure metriche e nelle glossolalie.

    Il maestro Jacques Lecoq (1921-1999) ha contribuito moltissimo a diffondere il Mimo come tecnica di base per la formazione dell'attore. Lecoq ha proposto lo studio del mimismo o mimetismo, per indicare la tendenza innata nell'uomo (come già riconobbe Aristotele) a imitare e a conoscere il mondo attraverso la mimesi e lo sviluppo del movimento attraverso l'uso della maschera. Il Metodo Feldenkrais, sviluppato dal fisico israeliano di origine russa, Moshe Feldenkrais (1904-1984), permette lo studio delle relazioni corpo-mente rendendo possibile un lavoro sull'economia degli sforzi attraverso la consapevolezza dei movimenti e l’uso organico della vocalità funzionale e teatrale.

  • The School of Corporeal Mime, one of its kind in Italy, was founded in 1985. In 2020, following the restructuring of its curriculum, it became the Accademia Mediterranea Mimodramma. In the Academy’s curriculum, mimodrama is identified with the idea of ‘Mime Action’, that is, the performer, body-mind in action. Students will explore and develop the use of words so that they will be consistent with attitude and movement.

    Fundamentally, the knowledge and practice of Corporeal Mime will serve as the essential training foundation, which will be organically melded with vocal technique, verse interpretation, theatrical fencing, mask work, and the actor's dramaturgy. Indeed, the Accademia Mediterranea Mimodramma fosters the development of the Mime Actor, which is one of the various categories of mime defined by Etienne Decroux.

    It is no accident that ICRA Project has its roots not only in some of the most important pedagogies of the 20th century, but also in ancient Greco-Roman theatre where mimes, who were very physical, also used words in prose, mimology and in verse, mimodia.

    The three main pedagogies of the Accademia Mediterranea Mimodramma are based on the techniques of master teachers Etienne Decroux, Jacques Lecoq and Moshe Feldenkrais, and are complemented by technical and poetic experiences inspired by Jacques Copeau, Vsevolod Meyerhold, George Ivanovich Gurdjieff, Monika Pagneux, Marise Flach and Vera Bertinetti.

    The Accademia Mediterranea Mimodramma has an international focus, both, in terms of training techniques and in offering masterclasses, workshops, and conferences by teachers from leading European theatre academies.

  • Also, through its intensive pedagogical and artistic activities, it has a long-standing, collaborative partnerships with leading national and international institutions such as:

    • National Academy of Dramatic Art Silvio D’Amico, Rome (Italy)
    • University of Naples Federico II, (Italy)
    • University of Bologna, Chair of Theatre History of the Department of Arts (Italy)
    • University of Salerno (Italy)
    • Carlo Bo University of Urbino (Italy)
    • Sapienza University of Rome (Italy)
    • Pontifical Salesian University, Chair of Theatre History, Rome (Italy)
    • Rudra Béjart School, Lausanne (Switzerland)
    • École Internationale de Genève (Switzerland)
    • Escuela de Actores de Canarias, Las Palmas de Gran Canaria (Spain)
    • Guildhall School of Music and Drama, London (UK)
    • Lithuanian Academy of Music and Theatre, Vilnius (Lithuania)
    • Russian Institute of Performing Arts, Saint Petersburg (Russia)
    • Pomona College, Claremont, California (USA)

    The study of corporeal mime is at the heart of the Accademia Mediterranea Mimodramma and is based on research and corporeal grammar exercises developed by Etienne Decroux (1898-1991).

    This French master was the brilliant founder of 20th century mime and, in part, of modern theatre.

  • In particular, the period from 1930 to the mid-1970s was fundamental to Decrouxian research and it was very rewarding for his most talented students, prominent among whom were: Jean-Louis Barrault, Eliane Guyon, Marcel Marceau, Marise Flach, Jessica Lange, Michel Serrault and Thomas Leabhart. Directors such as Antonin Artaud, Jacques Copeau, Charles Dullin, Gordon Craig and many other artists stimulated Decroux to undertake his research "ferociously" (according to Gordon Craig's definition of Decroux's method) and for decades he worked to reinvent the art of mime with a modern approach.

    Words were of the utmost importance for Decroux; indeed, he was a refined elocutionist and an excellent stage, film and radio actor who also valued clear versification and diction. At the Accademia Mediterranea Mimodramma, working with words, therefore, will be instrumental for exploring and gaining knowledge through reading, composed verses, rhythmic accents, metric figures and glossolalia. French master Jacques Lecoq (1921-1999) greatly contributed to spreading Mime as a fundamental technique in the training of actors. Lecoq proposed the study of “mimism” and mimetism to indicate the innate human tendency, as recognised by Aristotle, to imitate and to discover the world through mimesis and the development of movement through mask work. The Feldenkrais Method, developed by Russian-Israeli physicist, Moshe Feldenkrais (1904 - 1984), allows the study of the mind-body relationships, making it possible to work on the economy of effort through movement awareness and the organic use of functional and stage vocality.

Registi ospiti dal 1999

GUEST DIRECTORS SINCE 1999

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  • Teachers
    Michele Monetta, Lina Salvatore, Nicola De Matteo and Marco De Marinis.
  • Two-year course, from November to April, two afternoons per week, for actors, singers, dancers, mimes, directors, and youth aged 17 to 28.
  • Corporeal teaching techniques
    Decroux, Feldenkrais and Lecoq.
  • Two-year curriculum
    Corporeal Mime, the Feldenkrais Method, Mask and Masks, Basic Fencing and Historical Fencing, Acting, Voice and Movement, Biomechanics Basics, Improvisation and Composition.
  • Schedule
    1st year: Tuesday 5:00 pm - 7:00 pm / Thursday 4:30 pm - 7:00 pm
    2nd year: Tuesday 2:30 pm - 5:00 pm / Thursday 2:30 pm - 4:30 pm
  • Location
    Club Scherma Napoli on via San Domenico, next to the Istituto Galileo Galilei; about a 10 minute walk from the Piave Circumflegrea railway stop or a 20-minute walk from the Quattro Giornate Metro stop (Line 1).
    Parking available.
  • Enrolment
    Applicants are required to book an interview by October.
    If you cannot come to Naples, please email us your CV with a cover letter.
    Infoline: application form

Founded in 1985, the School of Corporeal Mime coordinates three complex movement techniques: Decroux, Lecoq and Feldenkrais.

The study of corporeal mime is at the heart of this two-year programme and is based on research and corporeal grammar exercises developed by Etienne Decroux (1898 - 1991). This French Master was the brilliant founder of 20th century mime and, in part, of modern theatre. In particular, the period from1940 to 1970 was fundamental to Decrouxian research and very rewarding for his most talented students, prominent among whom were Jean-Louis Barrault, Eliane Guyon Marcel Marceau and Marise Flach.

Directors such as Antonin Artaud, Jacques Copeau, Charles Dullin, Gordon Craig and many other artists stimulated Decroux to undertake his research "ferociously" (according to Gordon Craig's definition of Decroux's method) and for decades he worked to reinvent the art of mime with a modern approach.

French master Jacques Lecoq (1921-1999) greatly contributed to spreading Mime as a fundamental technique in the training of actors. Lecoq proposed the study of ‘mimism’ (mimisme) or mimicry to indicate man's innate tendency, as recognised by Aristotle, to imitate and to discover the world through mimesis and the development of movement through the use of a mask.

The Feldenkrais Method, developed by Russian-Israeli physicist, Moshe Feldenkrais (1904-1984), allows the study of the relationships between the mind and the body, making it possible to work on the economy of effort through movement awareness.

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