Corporeal mime

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One subgroup of physical theater is corporeal mime. Its objective is to place drama inside the moving human body, rather than to substitute gesture for speech as in pantomime. In this medium, the mime must apply to physical movement those principles that are at the heart of drama: pause, hesitation, weight, resistance and surprise. Corporeal mime accentuates the vital importance of the body and physical action on stage.

It was developed primarily by Étienne Decroux. He created this method and technique for creative performers wishing to transform their ideas into a physical reality, in order to devise a new style of theater "making visible the invisible," as Decroux put it.

The objectives of corporeal mime are to enable the actor to become more autonomous in creating metaphor-based physical theater pieces, which may include text, but are not based on text, i.e., to give the actor greater access to physical metaphors in work in traditional plays, and to increase the actor's strength, agility, flexibility and imaginative powers.

Decroux’s movement style was quite different from the commedia dell'arte figure from which earlier mimes took their model. Unlike classical pantomime, corporeal mime was also no longer an anecdotal art that used conventional gestures to create illusions of objects or persons.

Corporeal mimes seek to express abstract and universal ideas and emotions through codified movements of the entire body. Some corporeal mimes write their own texts, as did the Greek mime-authors, integrating the mime-actor's art with the author's. They also include props, costumes, masks, lighting effects and music. Because it contains movement expression along with other elements, it is often loosely alluded to as physical or movement theater.