Mime Act Quotes

He was capable of kindness, but he wasn't kind. He could act like he cared, but it would always be an act.

Pedantry. The delight in living. Brio. The chance to act, to mime, to mock, to mimic.

I am inclined to think that the corrupting influence of the stage is even worse [than that of the arena]. The subjects of comedies are the deflowering of virgins or the loves of prostitutes. . . . Similarly, the tragedies parade before the eyes [of the audience] the murder of parents and acts of incest committed by wicked kings. . . . Is the art of the mimes any better? They teach adultery by acting it out. How do we expect our young people to respond when they see that these things are practiced without shame and that everyone eagerly watches.

Harriet turned round, and we both saw a girl walking towards us. She was dark-skinned and thin, not veiled but dressed in a sitara, a brightly coloured robe of greens and pinks, and she wore a headscarf of a deep rose colour. In that barren place the vividness of her dress was all the more striking. On her head she balanced a pitcher and in her hand she carried something. As we watched her approach, I saw that she had come from a small house, not much more than a cave, which had been built into the side of the mountain wall that formed the far boundary of the gravel plateau we were standing on. I now saw that the side of the mountain had been terraced in places and that there were a few rows of crops growing on the terraces. Small black and brown goats stepped up and down amongst the rocks with acrobatic grace, chewing the tops of the thorn bushes. As the girl approached she gave a shy smile and said, ‘Salaam alaikum, ’ and we replied, ‘Wa alaikum as salaam, ’ as the sheikh had taught us. She took the pitcher from where it was balanced on her head, kneeled on the ground, and gestured to us to sit. She poured water from the pitcher into two small tin cups, and handed them to us. Then she reached into her robe and drew out a flat package of greaseproof paper from which she withdrew a thin, round piece of bread, almost like a large flat biscuit. She broke off two pieces, and handed one to each of us, and gestured to us to eat and drink. The water and the bread were both delicious. We smiled and mimed our thanks until I remembered the Arabic word, ‘Shukran.’ So we sat together for a while, strangers who could speak no word of each other’s languages, and I marvelled at her simple act. She had seen two people walking in the heat, and so she laid down whatever she had been doing and came to render us a service. Because it was the custom, because her faith told her it was right to do so, because her action was as natural to her as the water that she poured for us. When we declined any further refreshment after a second cup of water she rose to her feet, murmured some word of farewell, and turned and went back to the house she had come from. Harriet and I looked at each other as the girl walked back to her house. ‘That was so…biblical,’ said Harriet. ‘Can you imagine that ever happening at home?’ I asked. She shook her head. ‘That was charity. Giving water to strangers in the desert, where water is so scarce. That was true charity, the charity of poor people giving to the rich.’ In Britain a stranger offering a drink to a thirsty man in a lonely place would be regarded with suspicion. If someone had approached us like that at home, we would probably have assumed they were a little touched or we were going to be asked for money. We might have protected ourselves by being stiff and unfriendly, evasive or even rude.

I shoot up out of my chair. “It’s Bree. Hide the board!” Everyone hops out of their chairs and starts scrambling around and bumping into each other like a classic cartoon. We hear the door shut behind her, and the whiteboard is still standing in the middle of the kitchen like a lit-up marquee. I hiss at Jamal, “Get rid of it!” His eyes are wide orbs, head whipping around in all directions. “Where? In the utensil drawer? Up my shirt?! There’s nowhere! That thing is huge!” “LADY IN THE HOUSE!” Bree shouts from the entryway. The sound of her tennis shoes getting kicked off echoes around the room, and my heart races up my throat. Her name is pasted all over that whiteboard along with phrases like “first kiss—keep it light” and “entwined hand-holding” and “dirty talk about her hair”. Yeah…I’m not sure about that last one, but we’ll see. Basically, it’s all laid out there—the most incriminating board in the world. If Bree sees this thing, it’s all over for me. “Erase it!” Price whispers frantically. “No, we didn’t write it down anywhere else! We’ll lose all the ideas.” I can hear Bree’s footsteps getting closer. “Nathan? Are you home?” “Uh—yeah! In the kitchen.” Jamal tosses me a look like I’m an idiot for announcing our location, but what am I supposed to do? Stand very still and pretend we’re not all huddled in here having a Baby-Sitter’s Club re-enactment? She would find us, and that would look even worse after keeping quiet. “Just flip it over!” I tell anyone who’s not running in a circle chasing his tail. As Lawrence flips the whiteboard, Price tells us all to act natural. So of course, the second Bree rounds the corner, I hop up on the table, Jamal rests his elbow on the wall and leans his head on his hand, and Lawrence just plops down on the floor and pretends to stretch. Derek can’t decide what to do so he’s caught mid-circle. We all have fake smiles plastered on. Our acting is shit. Bree freezes, blinking at the sight of each of us not acting at all natural. “Whatcha guys doing?” Her hair is a cute messy bun of curls on the top of her head and she’s wearing her favorite joggers with one of my old LA Sharks hoodies, which she stole from my closet a long time ago. It swallows her whole, but since she just came from the studio, I know there is a tight leotard under it. I can barely find her in all that material, and yet she’s still the sexiest woman I’ve ever seen. Just her presence in this room feels like finally getting hooked up to oxygen after days of not being able to breathe deeply. We all respond to Bree’s question at the same time but with different answers. It’s highly suspicious and likely what makes her eyes dart to the whiteboard. Sweat gathers on my spine. “What’s with the whiteboard?” she asks, taking a step toward it. I hop off the table and get in her path. “Huh? Oh, it’s…nothing.” She laughs and tries to look around me. I pretend to stretch so she can’t see. “It doesn’t look like nothing. What? Are you guys drawing boobies on that board or something? You look so guilty.” “Ah—you caught us! Lots of illustrated boobs drawn on that board. You don’t want to see it.” She pauses, a fading smile hovering on her lips, and her eyes look up to meet mine. “For real—what’s going on? Why can’t I see it?” She doesn’t believe my boob explanation. I guess we should take that as a compliment? My eyes catch over Bree’s shoulder as Price puts himself out of her line of sight and begins miming the action of getting his phone out and taking a picture of the whiteboard. This little show is directed at Derek, who is standing somewhere behind me. Bree sees me watching Price and whips her head around to catch him. He freezes—hands extended looking like he’s holding an imaginary camera. He then transforms that into a forearm stretch. “So tight after our workout today.” Her eyes narrow.

Mirrors I have been horrified before all mirrors not just before the impenetrable glass, the end and the beginning of that space, inhabited by nothing but reflections, but faced with specular water, mirroring the other blue within its bottomless sky, incised at times by the illusory flight of inverted birds, or troubled by a ripple, or face to face with the unspeaking surface of ghostly ebony whose very hardness reflects, as if within a dream, the whiteness of spectral marble or a spectral rose. Now, after so many troubling years of wandering beneath the wavering moon, I ask myself what accident of fortune handed to me this terror of all mirrors– mirrors of metal and the shrouded mirror of sheer mahogany which in the twilight of its uncertain red softens the face that watches and in turn is watched by it. I look on them as infinite, elemental fulfillers of a very ancient pact to multiply the world, as in the act of generation, sleepless and dangerous. They extenuate this vain and dubious world within the web of their own vertigo. Sometimes at evening they are clouded over by someone's breath, someone who is not dead. The glass is watching us. And if a mirror hangs somewhere on the four walls of my room, I am not alone. There's an other, a reflection which in the dawn enacts its own dumb show. Everything happens, nothing is remembered in those dimensioned cabinets of glass in which, like rabbits in fantastic stories, we read the lines of text from right to left. Claudius, king for an evening, king in a dream, did not know he was a dream until the day on which an actor mimed his felony with silent artifice, in a tableau. Strange, that there are dreams, that there are mirrors. Strange that the ordinary, worn-out ways of every day encompass the imagined and endless universe woven by reflections. God (I've begun to think) implants a promise in all that insubstantial architecture that makes light out of the impervious surface of glass, and makes the shadow out of dreams. God has created nights well-populated with dreams, crowded with mirror images, so that man may feel that he is nothing more than vain reflection. That's what frightens us.

The scene illustrates but the idea, not any actual action, in a hymen (out of which flows Dream), tainted with vice [vicieux] yet sacred, between desire and fulfillment, perpetration and remembrance: here anticipating, there recalling, in the future, in the past, under the false appearance of a present [apparence fausse de présent]. That is how the Mime operates, whose act is confined to a perpetual allusion without breaking the ice or the mirror [sans briser la glace]; he thus sets up a medium [milieu], a pure medium, of fiction.

Ethan slumped on the bench in the change room, ignoring the ribald behavior around him after yet another foregone win. A hard slap on the rear of his head roused him and he whirled, his lip curled back as he growled menacingly. “Don’t you dare show me your teeth,” Javier warned with a dark look. He ran his hand through hair, already tousled and sweaty from the match. “What the fuck happened out there? I passed you the perfect shot, and instead of grabbing it and scoring, you crashed into the g**damn arena glass. What are you, a rookie? Been watching too many Bugs Bunny cartoons?” Heat burned Ethan’s cheeks in remembrance of his mishap before dejection— along with a large dose of disbelief— quickly set back in. “I missed. It happens and besides, it’s not like we needed the point to win.” “Of course we didn’t,” Javier replied with a scoffing snort. “But it’s the point of it. What the hell distracted you so much? And, why do you look like your best friend died, which, I might add, is an impossibility given I’m standing right beside you.” Javier grinned. “I think I found my mate,” Ethan muttered. A true beauty with light skin, a perfect oval face framed by long, brown hair and the most perfect set of rosebud lips. Javier’s face expressed shock, then glee. “Congrats, dude.” Javier slapped him hard on the back, and while the blow might have killed a human or a smaller species, it didn’t even budge Ethan. “I know you’ve been pining to settle down with someone of the fairer sex. You must be ecstatic.” “Not really.” Although he should have been. Finding one’s mate was a one in a zillion chance given how shifters were scattered across the globe. Most never even came close to finding the one fate deemed their perfect match. His friend’s jovial grin subsided. “What’s wrong? Was she, like, butt ugly? Humongous? Old? Surely she can’t be that bad?” “No, she appears perfect. Or did.” Ethan groaned as banged his head off the locker door. “I am so screwed.” A frown creased Javier’s face. “I don’t get it. I thought you wanted to find the one, you sick bastard. Settle down and pop out cubs.” Ethan looked up in time to see Javier’s mock shudder. “Me, I prefer to share my love among as many women as possible.” Javier mimed slapping an ass then humping it with a leering grin. Ethan didn’t smile at Javier’s attempt at humor even if it happened to be the truth. Javier certainly enjoyed variety where the other sex was concerned. Heck, on many an occasion he’d shared with Ethan. Tag team sessions where they both scored. Best friends who did just about everything together. Blowing out a long sigh, Ethan answered him. “I do want to find my mate, actually, I’m pretty sure I already have, but I don’t think I made a great impression. She’s the one they took out on the stretcher after the ball I missed hit her in the face.” Javier winced. “Ouch. Sucks to be you, my friend. Don’t worry, though. I’m sure she’ll forgive you in, like, fifty years.” Ethan groaned and dropped his head back into his hands. Now that I’ve found her, how do I discover who she is so I can beg her forgiveness? And even worse, how the hell do I act the part of suitor? Raised in the Alaskan wilds by a father who wasn’t all there after the death of Ethan’s mother, his education in social niceties was sadly lacking. He tended to speak with his fists more often than not. Lucky for him, when it came to women, he didn’t usually have to do a thing. Females tended to approach him for sex so they could brag afterward that they’d ridden the Kodiak and survived. Not that Ethan would ever hurt a female, even if his idea of flirty conversation usually consisted of “Suck me harder” and “Bend over.” If I add “darling” on the end, will she count it as sweet talk?

bloodied lace, which were both deadly in a very sedate way. "It was totally awesome! Yoyo Hal!" Juergen bounced up and down as an upright version of Hal falling repeatedly out of the tall wind oak only to be recaught and dragged upwards because he insisted on doing commentary in calm even tones. "It's important to note that a strangle vine can have as many as thirty-seven snare vines. Gak! You need to strike the base of the plant, its nerve center, to kill the strangle vine. Fuck! Never tackle one of these alone. Jane!" She stared at Juergen in dismay. He'd seen all that? Live? Unedited? With all the embarrassing parts still intact? How? The mechanic continued to act today's filming. "And you. Rawr!" He mimed the chainsaw. "That rocked! And then Brian! 'Don't try this at home, hire a professional pest control contractor.'" Brian was Brian Scroggins, Pittsburgh Fire Marshal and accidental guest co-host on a regular basis. "Just epic." She fled the embarrassing recount, ignoring the belated, "So how is Hal?

What are you doing?” I demanded. “Why did you go running off like that? Are you an idiot?”   “Let go!” She struggled, apparently not worried about the curious looks we were getting. “Leave me alone!”   “What do you mean leave you alone?” I hissed, hanging onto her arm doggedly. “What if another Foul Woman turns up, like the one that got Jack?”   She winced. Before I could apologize for my trademark sensitivity, she recovered and poked her finger at my face. “It’s none of your business what I do! I don’t answer to you, Mio Yamato. I’m an adult, for God’s sake! I’m nearly twenty-one years old.”   “Then start acting like it! We’re on the same side here. We are trying to help you.”   “How?” Her voice hit a pitch so shrill that it echoed even in the middle of all the deadening sounds of the city. We got a slew of horrified stares. Rachel didn’t seem to notice. “How? You have no idea what happened to me! You have no idea what’s still happening to me…”   All the fight seemed to drain right out of her. Her tense shoulders sagged and, to my horror, big, fat tears welled up and spilled down her cheeks.   Well, crap.   Jack and me … we didn’t do this. We didn’t cry in front of each other. We didn’t do that Reality TV Big Emotional Moment stuff. It wasn’t us. If this ha d been Rachel’s sister in front of me, I’d have known just how to handle it – let her turn away, let her get herself back together without trying to help. Jack would already have been sucking it up.   But this wasn’t Jack. And Rachel wasn’t sucking it up. She was just standing in front of me in the middle of a crowded London train station courtyard, with one arm wrapped around her middle like she was about to fall apart, crying silent, pathetic tears.   Shinobu’s face filled with a mixture of sadness and understanding. He made an abortive move to touch Rachel, then stopped and stepped back, as if realizing contact from him probably wouldn’t be welcome. “Then you must tell us, Rachel-san,” he said gently. “Trust us with your fears. Trust that we will listen and understand.”   He gave me an urgent look and mimed a hugging movement.   Thanks. Thanks a bunch.   Feeling stiff and uncomfortable, I put my arms around Rachel and patted her on the back. “Shush. It’s all right now. It’s all right.”   To my surprise she flopped against me, burying her head in my shoulder as she cried. It was like … like she’d just been waiting for someone to lean on all along. For the first time it really dawned on me that Rachel and Jack were different. Yeah, they had something of the same attitude, a lot of the same mannerisms, even looked alike if you ignored Jack’s goth thing – but they weren’t the same person. I needed to start seeing Rachel for who she was, not just Jack’s Big Sister.   I hugged her a bit tighter, and patted her back with a bit more enthusiasm. “I’m not going to pretend that I understand exactly how you’re feeling, because … you’re you, and only you can know that. But I can sympathize. Maybe I can even help. Please tell me what’s going on.

The age of the photograph has become the age of gesture and mime and dance, as no other age has ever been. Freud and Jung built their observations on the interpretation of the languages of both individual and collective postures and gestures with respect to dreams and to the ordinary acts of everyday life. The physical and psychic gestalts, or “still” shots, with which they worked were much owing to the posture world revealed by the photograph. The photograph is just as useful for collective, as for individual, postures and gestures, whereas written and printed language is biased toward the private and individual posture. Thus, the traditional figures of rhetoric were individual postures of mind of the private speaker in relation to an audience, whereas myth and Jungian archetypes are collective postures of the mind with which the written form could not cope, any more than it could command mime and gesture. Moreover, that the photograph is quite versatile in revealing and arresting posture and structure wherever it is used, occurs in countless examples, such as the analysis of bird-flight. It was the photograph that revealed the secret of bird-flight and enabled man to take off. The photo, in arresting bird-flight, showed that it was based on a principle of wing fixity. Wing movement was seen to be for propulsion, not for flight.