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..■■•■
t's the language of the
heart and the soul," says
Brian J. Trim, director of
the Marcel Marceau World
Centre for Mime, based in
Ann Arbor. It's a language
with no words. It's a language
of gestures and imitation. It's
a language thousands of
years old. It's a language as
new as the day.
The language is mime.
It's a language that Yoram
Boker speaks fluently. Boker
is the founding director of the
Israel-based Yoram Boker
Mime Theatre. Under the
auspices of the National
Foundation for Jewish
Culture, The Yoram Boker
Mime Theatre, composed of
Boker and troupe members
Edit Limor and Uri Tennen-
baum, just finished their first
North American tour.
Speaking to others though
saying nothing, the Mime
Theatre has had 'audiences
pricking up their ears, though
hearing no human sounds. To
many it's a novel experience.
"In the 20th Century with
automation of everything;
with sensory overload it's a
refreshing outlet to be spoken
to without words," says Trim.
"Often the most important
things in life are said without
language."
Of course, in order to speak
a silent language one needs
first to talk and be talked to.
All three members of the
Boker Mime Theatre are well
versed and trained in the
varied techniques of corporal
movement, physical exercise
and stylized expression which
are particular to the art of the
mime. But they are not only
pantomimists. "In the begin-
ning I wanted to be an actor,"
explains the 48-year-old
Boker, who now teaches act-
ing at the Tel Aviv Universi-
ty and who has been in
numerous television and
stage productions in Israel.
Years ago while serving in
the Israeli Army, Boker and
a friend met Marcel Marceau
who was on tour. "Marceau
told me to come to Paris, to
study," says Boker. That's ex-
actly what Boker did a short
while later. "But Marcel
wasn't there." So, Boker work-
ed nights and during the day
took classes with one of the
great mime teachers, Jacques
Lecoq, at night. "Lecoq was a
good pedagogue and gym-
nast," says Boker. "He knows
the world of movement."
Eventually Boker also
studied with Marceau.
Neither teacher knew that
Boker was studying with the
other and he wasn't about to
inform them. From each,
though, Boker learned. From
each Boker drew upon a par-
ticular tradition of classic
modern mime art.
During recent perfor-
mances by the Boker Mime
Theatre in Ann Arbor and
Flint, Boker showed how he
has taken from each artist —
and other sources — and has
developed a style very much
his own. Hints of the com-
media dell'Arte, Pierrot and
the so-called pantomime blan-
che (for the white facial
makeup used) come through
some of his works evoking a
wide range of feelings and
responses. Other sketches
utilize Marceau's Bip-like
characters, Beckett-derived
clowns and so-called larval
masks which, though
abstract, evoke a human
quality. Boker seems very