Ep. #77 Times and Rhymes with Tyce Diorio

Words That Move Me with Dana Wilson
Ep. #77 Times and Rhymes with Tyce Diorio
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Emmy award winning choreographer, Tyce Diorio and I cover A LOT in this episode.  We talk about finding and being friends in a dog eat dog world, we discuss our processes and passion for movement coaching, and of course we talk In The Heights (in theaters and streaming on HBO Max NOW!)  Like so many, I have looked up to Tyce for years, and this episode feels a whole lot like sitting down with my hero… and then winding up having a pillow fight and braiding each other’s hair (yes, games will be played!)!  It’s pure fun, ease, and openness.  ENJOY!

Quicklinks: 

Get Tickets to In The Heights Here: https://www.intheheights-movie.com


Katie Holmes “Get Happy” So you Think Piece: https://www.youtube.com/watch?v=oNV4VxIVW7I


Transcript:

Intro: This is words that move me, the podcast where movers and shakers like you, get the information and inspiration. You need to navigate your creative career with clarity and confidence. I am your host master mover, Dana Wilson. And if you’re someone that loves to learn, laugh and is looking to rewrite the starving artist story, then sit tight, but don’t stop moving because you’re in the right place. 

Dana: Hello, good people and welcome to Words That Move Me. I’m Dana, I’m jazzed that you are here and I am so, so, so excited to share this conversation with one of my favorite people in the biz, Mr. Tyce Diorio who I have known and looked up to for years and years, because if you do not already know Tyce, you are about to find out his career is truly remarkable, um, and vast, so wide reaching. Um, and finally two summers ago, Tyce and I got to work together on In the Heights, which we’ll get to chatting about in just a second. But first let’s do wins! Let’s do wins! Because In the Heights is my win. This week in the Heights, the film is in the world. Please go see it. If you are healthy, if you are comfortable, go see it in a theater because dang it this is the stuff the big screen was built for! I’m  Celebrating in a crazy way inside and outside being a part of the production. More specifically the choreo team that put more than 280 dancers on the big screen. Many of them for the very first time I’d like to add, I genuinely don’t have words, which for those of you who listen a lot is, you know, is saying a lot. I don’t have words, um, to explain my gratitude or my pride in being a part of this project, but I will try to find them soon because an In the Heights choreo team episode is coming through the pipeline. So buckle up. It’s going to be so great. I’m very, very excited. I hope I have more adequate words to explain the way I feel about this project. And of course, we’ll be talking a little bit about the process, but In the Heights is in the world. That’s my win. Please go see it and share this, win with me. Um, if you’ve seen it, then heck that can be your win too. But if you haven’t seen it, I’m dying to hear what is going well in your world. It’s your turn. 

All right. Awesome. Congratulations. I’m so glad that you are winning. Now. Let’s dig into this Tyce Diorio Ooh, where do I begin? Tyce is a force to be reckoned with on the dance floor and also in the business. But as you’re about to find out that is balanced with tremendous kindness, a gentleness that is difficult to find in this industry and also an appreciation for the simple things like, you know, genuine human connection and friendship. So for those reasons, this episode is strong, but also super, super soft. And you will 100% on a stick around for the laugh attack at the end of the episode, because Tyce and I have a gift that we would like to share with you. And it’s so much fun. You do not want to miss it. Your quality of life is about to go so far up. So get ready and enjoy this conversation with the one and only Tyce Diorio 

Dana: Tyce Diorio! I am so excited about the conversation that is about to ensue. Thank you so much for being here. 

Tyce: Thank you For having me. I’m a fan,  

Dana: Um, mutual fandom. I love mutual fandom. Um, most of my listeners, people who know me probably know that I really love versatility and it is possible my friend, that you are the most versatile guest that I have ever had. Um, I think, you know, from being an educator to a movement coach, to a choreographer, to still being a dancer, um, even still dancing in films, shout out In the Heights, which we will definitely get there. Um, but you choreograph for TV, film stage and beyond. Uh, that’s the very small nutshell. Now I’m going to ask you to do something. I ask all my guests to do some of them hate me for it, some of them it’s awesome. But I’m going to ask you to introduce yourself and simply tell us anything you want us to know about you.  

Tyce: Hi, I’m Tyce Diorio. I am a dancer, I’m a choreographer and I’m a really good friend.  

Dana: And it’s important that your listeners know that. And I will co-sign or back that up with this strong, friendly stamp of approval.  

Tyce: I say that because it’s really important to me, you know, through dance, you know, I have an amazing tribe of people here in Los Angeles. And so, yeah,  

I think that’s a really great place to start actually, because I only recently learned that you’re born in Brooklyn. Um, and I have a lot of listeners in New York and I have a lot of friends in New York as we’re speaking of this. And I know it’s a goal for so many to become bi-coastal. Yeah. I’m so curious about how that happened for you and any words of wisdom or tips that you might give somebody who’s who’s eager to live that life.  

Yeah, I mean, growing up in New York, as you know, New York is so fast paced and like, you know, New York and LA are like the leading capitals of dance. So being in New York city, uh, growing up that way, it w you know, it came from a local studio, danced in Manhattan, went to the high school performing arts, the famed high school, performing arts, you know, I was the lucky guy just to be there. And, and, and so, you know, and I have theater right in front of my face. So I, I just, I immersed myself in all of that, as one would do, being in New York city, taking advantage of all the, all of the privileges that came along with that coast. And so, you know, um, I, you know, obviously in New York city, you have to like sing, you have to dance, you have to act. And so it just, it was just no choice. And you have it all available to you. And so many amazing people who, who do that and who educate and who can be a mentor and who can inspire. So, yeah, I spent most of my life in New York City, and we learned a few things about, you know, dance, being a dancer. We learned there was no stability. You know, 

You are the stability, you have to find your core, you have to find your leg because you are the center of a very, uh, spinning world. It’s important that you know how to spot.  

Absolutely. You know? And so, yeah, I, I mean, and then I came to LA and because I was so intrigued by Los Angeles. And  

Was it just curiosity at first that that brought you out?  

I was on a television show early on, and I had seen what Jackie Sleight was doing for a male dancers. And I, and I was intrigued because I had never, I mean, I was dancing like, you know, New York Dancers dance, we go into a class, we dance our it’s an hour warmup. Do you know what I mean? And, and it’s just very different. It was very different. And it was like a rivalry rivalry between New York City and LA at the time, and who’s better and all that stuff. So I came to LA, I saw Jackie Sleight and I saw the way, you know, like Bill Bole was dancing and Bubba Carr and all that Aaron Cash and all those incredible people. So I came to LA and I just jumped in the water. 

Oh my gosh. I love that Jackie Sleight is part of that origin story. She’s part of mine as well. Um, I was a young convention dancling when I first met Jackie Sleight and I will never forget her, her teaching style, her way of engaging people with words, as well as with her movement. I am still riveted by her to this very day. She’s got to come on the podcast.

That woman has so much 

Legendary. Coming for you, Jackie I’m coming. Um, thank you also for dishing out some more legendary names. I hope our listeners are taking notes and doing good Googleage after this. Um, well, I’m thrilled that you, you wound up here. I wonder if our paths would have crossed otherwise, but, uh, you and I met through, I think we met personally through a mutual, uh, that’s a made up word, a mutual friend, Melanie Benz. And I think that speaks to like the interconnectivity, the importance of relationships in the industry, because it wasn’t work that brought you and I together, but work has come since then. Um, and I love that about what we do, but I think it’s unique. You know, I think in other industries, let’s say the skill is truly the most important thing. And I don’t know that that’s true for our industry. I think that on par with that is personability, professionalism, um, um, uh, uh, contribution to the process. Um, so I, yeah, I don’t know what I, I don’t, I don’t think there’s a lesson there. I guess what I’m encouraging in people is that if you’re a good person consider that, a credit on your resume, because it is helpful in the long run.  

Absolutely. A hundred percent. I think, even though I came from New York, I came to LA and I instantly met some of the greats. Like I ended up crazy enough working with Michael Peters and like, you know, Paula Abdul, yada yada, yada Vince Patterson, all the greats. And it was, I just felt like my path and I think we all as artists or dancers and we get, we get coupled up with the right energy. It’s like a matched energy. I feel so it’s like what I was putting in and what I was desiring, all the, all the, the people that came into the pathway were direct matches for me. So I think I knew about process and I, I, I loved process because it is the most important, so I wasn’t results driven. So that was really good. And I, I managed to maintain and stay that way. And through today, you know,  

Uh, yes, I do know. Um, okay. I want to talk about this idea of matching number one. I want to talk about you matching with Paula Abdul on star search. Um, is that not how you got your break? Was she, how, how did that moment work?

I was on star search, uh, you know, um, and then Paul Abdul, funny enough was one of the judges. And, um, I was, but I wasn’t on as a soloist. I was on with like two girls. So, you know, that was the connection. And then I went back on star search as a soloist, and then I had won the whole thing. And then I came to LA and Julia McDonalds set up a private audition for me and Paula and I went into a room with her and she, she put on our music and she made me dance. Right. And improv right there. 

How old were you at the time? Do you think it was, 

I was 18 or 19. Yeah. Wow.  

Does it feel oddly full circle to now be involved with a show? Like, so you think you can dance and giving that first break moment to so many dancinglings  

That was, that was an interesting, uh, connection and believe it or not that connection. And I say it all the time. That was because of Marty Kudelka. It was Marty Kudelka actually recommended me. He was on Marty was on the first season, I believe. And, um, and I was in New York actually doing, I’d been in Los Angeles living, but I went home. They asked me to do Chicago for a few months. So I did Chicago for like six months. And so I was doing that and having a great time and got a call from Nigel Lithgoe and Jeff Thacker and said, Marty, Kudelka recommended you to choreograph, um, a Fosse piece. And so I flew out to LA on Marty’s recommendation, and I never forgot that because, you know, truth be told, not everybody is, is, um, uh, giving enough to recommend people in our industry. And that’s just kind of the truth of it all, but I don’t, I don’t, I just come from, oh, Hey, you have to call so-and-so. You have to, this is that I come from that. So it’s, you know, so it’s not uncommon to me, but, uh, Marty Kudelka really showed that, you know, um, because our connection with Janet Jackson and then, and how he ended up working with her, you know, um, after I had done some work with her on tour and, and videos and stuff, so,  

Thats Right. I’m so glad that you mentioned him and are singing his praises because it reminds me, I think his name is possibly the most mentioned on the podcast. Um, and he is the person that extended a similar kindness to me. Um, and, and many, many, many kindnesses actually throughout my career, I safely can say, I wouldn’t have this career without that person at all, not even close. Um, Marty is, you know, people call this a dog eat dog world. And although Marty is my dog, there is, there is nothing dog eat about that person that Marty gives credit where it is due. He’s the first to, uh, to share space and make space for other people and their talent. Um, I’m so completely grateful for that. And I actually wonder, do you remember what season that was that you,  

So you think I went on the first season. My first show was the finale of the first season. So I went and did a Fosse piece, and then they brought me back season two, and they were like, can you do contemporary? And I was like, yeah, can you do jazz? I was like, yeah, Broadway. I was like, yeah. And then I, I did, like, I did an African Piece and, you know, and when you talk about versatility, I just throw it back to my, the way I trained at my dance studio, my local, the local dance studio. I went to, we were doing all of that at 10 years old. I mean, I had an African dance teacher named Luanis Luanis from Africa and we were dancing. So all these things, all the tapes are still in my mind. So it never leaves you what you were exposed to from your dance studio. And I think that’s so important, you know, cause we all come from dance studios and you know, they give us that.  


Well, not all of us, but most of certainly most of the people listening to this podcast, do I think they’re like me, you know, you talk about finding your people. And I think, yeah, like attracts, like, and I, I grew up a studio kid as well. No African in my dance studio, unfortunately for me. Um, I’m, I’m very jealous of that because the more I learn about what I do, the more I learn the roots and all of it stems from African people. Um, and I am mesmerized by that and I’m always eager to be growing and learning and also sharing and making space for people to get excited about that. Be introduced by that. Um, I think it’s a gift to be exposed to many styles that early on, especially African, um, I do want to ask though, because this comes up a lot with friends of mine and it was a part of the story that I told myself early on is that it was not a good thing to be a generalist that LA especially loves a specialist. We’re not looking for somebody that’s decent at all styles. We’re looking for the best Krumper and the best Popper and the world’s greatest B-boy like those were what the castings were looking for at the time that I moved out here anyways, which is way, way back in 2005. Um, but did you ever struggle with being categorized a generalist or not as a specialist or were you really just that good at everything?  

You mean me as a dancer? You mean me as a dancer? Right. I came to LA and I feel like, um, I was a certain kind of dancer and I w and I think in all of the projects that I, most of the projects I did, I was probably, I was always singled out for a feature or this, or I could, you know, I, I feel like I brought more to the table than just dance. Cause I felt like coming from New York, you were always telling a story and you were always acting and you were always like there was purpose. So it was, you know, it was celebrated, I think, you know, by a lot of different choreographers, you know? So I felt lucky. I felt lucky  

You’re echoing a few sentiments from a previous episode with Miguel’s Zarate where we were talking about the value of not fitting in. And yes, it’s great to be a specialist, but let’s remember how special it is to be you who’s exactly from where you’re from and exactly exposed to all the things you were exactly exposed to. And that, that made exactly you and holy smokes. I’m so thrilled that I know you and get to dance with you. Um, so let’s talk about that. Okay. Oh, wait back up, back about book before we go forward, we go back just one second on the subject of Marty Kudelka one of the graces that he extended to me was asking, uh, if I would like to collaborate co-choreograph a piece for, so you think you can dance with him is the only time I ever choreographed for the show, we got to work with Jose and Comfort who I, adore and we had an absolute ball. And I remember meeting you on the show. So you must have been there in season seven. 

Yeah. I, yeah, I’ve done a lot of seasons.  

I actually know that you’ve done a lot of seasons because I know that you’ve done 13 seasons.  

Okay. Yeah. Yeah. I, I, yeah, I’ve done a lot.  

Um, I suppose I could ask for outstanding moments. Do you want to talk at all about your Emmy win or is it,  

That was absolutely wonderful and sort of crazy, but just to wrap it up in a, um, brief little story of that, I’ve  

Always for a second, I thought you were going to say wrap it up in a tortilla. Cause that was the shape you were making tiny little burrito out of it. This is what it would be into  

I’m into it and I’m totally up to it. Um, no, I, I think maybe, uh, I don’t know, dancers might be inspired or anybody could be inspired by, um, I always saw myself. I always have these movies in my mind. I think I always saw movies or like this mini movie in my mind. Like I always knew I was, was going to dance with Janet Jackson or I knew I had, but I knew that I was walking up some stairs. I knew I, I saw this movie in my mind. I was walking upstairs and I, I had this gold award in my hand and I was speaking about all the people that I, you know, that helped in that process and, and that, and, and yeah, I didn’t know it was going to happen at, So you think you can Dance, but, but it ended up happening and it was a beautiful, magical moment.  And, um, yeah, and the fact that I was able to create a library, I, you know, I, wasn’t a choreographer when I got on the show, I, I actually landed that, you know, television show and I just so happened to be dancing the Fosse work. So they felt like I could do this Fosse piece. And I did that. And then I just, I kind of just stayed in each moment and I didn’t really get ahead of myself. And I was just kind of like, yeah, I can do that. Cause I knew I just needed to work on my craft and at least find a little tiny voice of as a choreographer. So I did that like a lot. So I took every episode they gave me and I just worked on it. And so eventually it paid off and I started to find a little voice in there. And um, yeah, and I, I met so many people like, you know, Chris Scott, who we’ll get to who some of the loves of my life at, at, uh, so you think, and we all, you know, Sonya Taya, Stacy Tookey all these beautiful people, all of them, you know.

And, and what a great way to make your muscles as big and strong by helping others to become big and strong. I I’ve heard, you know, a lot of experiences from the show, from the contestants point of view. And of course it’s a ringer, of course it’s a challenge. That’s the point, it’s a competition show and it is also a reality show. So circling back to, it’s not always, no, if at all, about your talent, um, which I remember being so frustrated about that show in the beginning when I was, when I was younger, when I was like contestant age, I hated that about the show. And I was like, that’s not real life. If this is, if this is a dance show, the best man or woman or person should win. Um, and then I noticed that this was about America’s favorite dancer and those aren’t always the same person,  

Right? Yeah. You know, and from the choreography standpoint, you know, the choreographers are in this, uh, um, little pit, like, you know, we’re, you know, we all want to do well. We all want to, to rise to the occasion. So it’s, there’s the dancers. And then there’s the choreographers because yes, it is a reality show. It’s television, you know, it was about the pieces that they performed, you know, and the connections between all of us, like I had been there from season one, you know, and all the new choreographers and the great people that I ended up meeting, like Nappy Tabs and Chris, you know, they’d come in and they’d be like, oh my God, I like, or what are they going to say about my number? And I was like, and I remember telling them that because I had been there a bit and went through that same thing. And so I felt it important to say, Hey, listen, you know, they can say what they want about your number, but the truth is is that you leave here with that, that’s your work and next week, no one’s ever going to remember what they said. So it’s like, you just stay, stay, stay with you. You know? So, because I have learned that I’ve learned that, um, early on there, cause it’s, it’s a daunting experience because  

For sure. And I think that actually spreads beyond that show into, into everything. I think the, the work is what people remember. Um, I’m thinking about myself, like YouTubing specific numbers from that show, I would scrub right through all the chatter at the beginning and I would not stick around for the chatter at the end. Um, I thought that I was alone in that, but I don’t think I am. I think you’re spot on. Um, so maybe let’s stick on that theme for a second on the subject of competition. Um, we talked about the choreography worlds being kind of a dog eat dog world. And we are a community. We are an industry that’s working desperately to organize and find ourselves a home, find ourselves some, some semblance of collective bargaining somehow. Um, and it’s challenging to do when, when there isn’t a sense of unity. Um, I know it’s possible because the dance community did it. And I came up through the dance community, which was also dog eat dog, tremendously competitive. And I think there are more dancers than choreographers. So if the dance world could do it, I think the choreography worlds can do it. Um, but I would love to hear your thoughts on competitive nature within our industry. Is it useful? How do you manage it? 

That’s an amazing question. I’m glad you asked. And, um, I guess after, after, after 2020, um, but even before that, I think for me, I think I was starting to formulate. I’ve never, you know, I grew up, you know, in the competitive world for a little bit, you know, I, I maybe did competition dance world for like four years, you know, and I grew up competitive and you know, I’m competitive with myself, but I do remember being like seeing some great dancers, like male dancers when I got to LA and never, I never felt the better you were and the more talented you were, I was like, we’re going to be friends because I, I need what you have. So I re I never remember being like sharky about any of that ever. The better you are, the more talented, the more we were going to be friends. And I have so many friends that are so, you know, talented and have all those great qualities. So, um, I feel about competition in the industry. I feel even after last year, I, I think, you know, we all have a whole different perspective on life in the world. And so many things that I just decided like, yeah, I know, no, no. 

Yeah, no, I’m not going to do that. Oh,  

I mean, I mean, I’m an adult, but like, I don’t, you know, I just think like, to be competitive and, you know, it’s just, that’s just not important. It’s just so it’s so not important. It’s so 10 years ago, 

it’s not in fashion, 

It’s not even important. Oh God. Like even more so now it’s just, yeah. And especially the industry being as hard as it is, you want to add another layer of a layer of competitive newness on it. I just think it’s, doesn’t serve it. Doesn’t serve me. That’s for sure. You know, and having to like, yeah, just all the things you have to do in this industry, like, you know, putting the pressure on yourself or, you know, feeling like I have to achieve this by this. I I’m like no, none of, none of that, none of that is important at all. You know? Cause again, it’s really about process. It’s about connection. I think it’s about, um, you know, just get, getting, losing yourself in your art and, and, and not being so results driven because that’s, that only can equate to one thing and, you know, and just, and think, think about all the artists you love and that you admire and respect. I think it’s really important too, that you know, that the, the, the artist meets the person to, you know, like where the artist meets the person. Cause it’s like in our industry, as long as we’re talking about industry and the, the reality of it is, is, um, you see things on a TV screen or, um, you know, on, on your phone and it looks as if it’s a certain way, but that is not the reality. The reality is, is it’s not everything is, as it seems is what I’m saying. So when you, what’s great, is that when you meet an artist, whether it be an actor, a singer dancer, choreographer director, yada, yada, yada, that the person actually meets, uh, the artists they’re as great as a human, as their artistry, you know? And I’m just keeping it real. I I’m just trying to keep it real just because we’re having a conversation. So we’re going to talk for real about, yes,  

Let’s go! There are a lot of smoke and mirrors and that, and actually, and nobody’s trying to hide that it’s an industry that’s based on making things look like something else, the actors are doing it, the set designers doing it, the lighting team is doing it. There’s no mystery. Like we are in the business of making something that isn’t what it is. Right. So really useful to be what you are to know who you are, so that you can do that with, with clarity and go home and get a good night’s sleep at the end of the day. However, it was that you spent your day before that point. Um, okay. So now let’s get into talking about how we got to spend some of our days during the summer of 2019. Um, you, you talked about finding a friend in Christopher Scott, and you talked about, you know, the pressure of being on. So You Think You Can Dance the pressure of having a great number. And I think that Chris is somebody who balances being a friend and being a professional who has a seriously high bar of expectations. Um, during the process, it was like no end to achieving the dream. Yeah. It was very rare that he felt like we’ve got it even up to the days before the shoot or during the freaking shoot. It’s still like trying to make it that much better. And one of the, one of the ways I remember you coming into play of this film is we were casting this number. That’s very special number in the film called Paciencia y Fe and we, uh, he, he wanted real looking humans, different ages, different sizes, different shapes, but like real looking people that have magic and charisma. And he said, Tyce has to do this. Tyce would be so perfect. Um, and this was, you know, not a, not an easy or natural step for you. I’m sure you were in the middle of other projects and life and work and things. So how was it that, how was it that the project came to you? How did you feel about doing it and what are your thoughts about the process?  

Well, um, wildly, you know, I’m wildly a fan of Chris Scott because it’s, it’s so rare. Um, Chris is, is rare in this industry. And so when you find those golden nuggets, you hang on to them and we really connected at So you Think as people, as people and we just really respected each other’s craft and artistry, so that was good. And we just became friends and then, um, cut to, um, you know, I, I had been choreographing at the time. Uh, well I worked with Taylor Swift for about nine years, you know, on yes,  

That’s right. That’s an overlap. Okay. Yes.  

And I, um, and we had Chris come in on the 1989 album and do like two or three numbers. Um, and so we connected even more there. And so, uh, it’s always been a, uh, uh, like a love fest, like just, you know, and so I was in New York and I got a call and he was like, Hey, um, I think I saw, he might’ve seen from my Instagram that I was in New York or whatever. And I was like, yeah. And he had mentioned, he’s like, I really want you to do In the Heights. And I was like, oh, okay. I was like, I was like, definitely. Absolutely. And the dates ended up working out. And so of course always, always always know, you know, like when, when there’s an opportunity to dance and it’s people you love and admire and respect all day every day. And I’ve always done that, you know, as like somebody who’s got a project and they asked me, you know, you’re more selective now that you’re, you know, you know,  

Now that the cartilage in your knees is wearing out.  

I mean, listen, thank God. My knees are good, but you know, it’s like, but I just, I just, um, I love to dance. So, and I love to be with good people that dance and create, so,  

Oh, we had so much fun and you’re going to be so proud Mayor LaGuardia.  

I’m sure. I’m sure it was amazing time. It was amazing. You were so brilliant and perfect as always. And it just like damp that in for sure. It’s like a process and process of that was so beautiful and so great. It was run so well, everything was just, it was just such a great experience, you know? And I, I definitely will remember that and, you know, and I got to meet Ebony Williams. And so I was so like enamored by her. I was like, wow. And then I watched her dance and then I was like, wait a minute. I was like, hold on everybody. 

Yes, everyone. Hold on. 

Did everybody just see that? I was like, we’re not just gonna like keep talking after she just did that. What a amazing dancer.

Incredible there is. I’m convinced nothing that she cannot do.

Wow. Now and I saw her in, um, um, jagged little pill.  

Yeah. Okay. So you’re a unique person. Well, you’re unique in many ways, but you’re unique in one specific way, which is that you have been a Broadway dancer who has also been in Broadway film adaptations. I am so curious because I don’t have, um, I’ve workshopped, I’ve skeleton crewed, a few shows for Broadway or off-Broadway to become Broadway shows, but I am so curious to hear your thoughts on what the biggest difference is in terms of being a dancer in each of those spaces, because you take In the Heights, for example, with a few tiny script changes, it’s the same show that was on Broadway as it is on film, but what’s the difference for the dancer. I would love to hear you thoughts.

To be honest with you when I was in New York working on that film, particularly it did, it felt, um, like a product exactly like a Broadway show. What made it feel that way? Well, because there was so much because you’re, you are dealing with a theatrical piece that has a, you know, it’s a script with song and movement and all the things, all the elements. And for me, I was, I was, and as being in New York and with all those beautiful New York Dancers, um, I just felt like, Hmm. I mean, with the difference of there’s no, there’s no live orchestra and you know, it,  

Or a live audience.  

So, um, for me, I mean that particular experience was unique to its own because it felt, it, it felt like we were working on a Broadway show for sure. Yeah, definitely. Because it was just so, um, you know, well thought out and just had so much purpose and  

And so much plot. There are so many stories to tell. Um, yeah. And everyone did it. Every ensemble dancer was dancing the story of a main character. Um, and in many cases it also is their story in, in our case, how lucky did we get to have such giving dancers talent in general, who brought themselves their struggle, their success to this process? I mean, I get chills thinking about it. And when I tell you you’re going to lose your mind. That 191st street tunnel, uh, you taking that step into that line, in that hat, in that fit, shout out, Mitchell Travers come on, killed the wardrobe. It’s one of. Paciencia is one of my, uh, one of my favorite parts of the film. It really feels like the heart to me. I hope that you love it.  

Um, sh I’m sure. I’m sure. I mean, it was like when you see the trailer it’s, um, in the casting and you hear the music, it’s like all the, all the elements have to come together seamlessly. So that it’s one thought. And that I felt like, I felt like when I saw the trailer, it’s like, you know, you just know, like, you know, when I’d walked down the streets in New York and I’d go see shows all the time you go in, you hear the overture, whatever you’re listening to, you, you know, you’re in the presence of greatness right away. It doesn’t take long, you know, especially in theater, because there’s so much, there’s so much of the puzzle that goes into making that one overall piece and picture and thought. And so I think in the I’m I know that with In the highest, and I will say I was highly impressed, highly impressed with John Chu and his, and the way he walked by and addressed and spoke to dancers and people and the way, and I was like, it starts at the top  

Trickle down.  

And he, like, he came over, we were on the train and he was like Tyce. And I was like, what, how do you know my name? And so like, just, and this is where, this is where I go back to saying where the artist meets the person. That’s what I’m talking about. That’s what I’m talking about because not everybody, not everybody is that human, you know? Yeah, it’s true. But John Chu was, I don’t have enough words.  

I, uh, I love the way he leads and damn I love the way he makes movies. Um, okay. So I, while we’re kind of, while we’re on the subject of character and working on, on movement, that’s human, right? That, that part of the film is a very human moment with a backdrop of beautifully crafted contemporary, and honestly, a gorgeous collision of styles of movement. But the moment itself is a human moment. The backdrop of dances is it is inhuman in a very beautiful way, but I, I, a part of my work that I really, really love is working as a movement coach, much less to do with 5, 6, 7, 8. 1e and a 2e and a. And, um, but I love story. I love characters and I love non-dancers. I know that you also movement coach, and I would love to hear a little bit about your approach to being a movement coach. Um, you’ve worked with Cameron Diaz, Megan Mullally looking at my notes, Tom Cruise, Katie Holmes, Christina freaking Applegate, who I simply adore Queen Latifa, Toby McGuire. I mean, come on. Um, so yeah. Are you, are you open to talking a little bit about your approach to that kind of work.  

I absolutely love, love, love working with actors and, and just, um, you know, I mean, working with Toby McGuire, let’s just say, you know, he’s an such an actor’s actor, so, you know, but, but the great thing about actors, as you know, it’s like, I love approaching it from that perspective. Do you know what I mean? So it just, I always say when I’m teaching, it’s like we have to lose the dance in order to get to the dance, you have to lose it. You have to be willing to lose it. And it’s very hard for a dancer, especially a dancer to lose the dance because we train to dance. But when you’re talking about a story and you’re talking about why are we all here? What is the point for us to all be here? And when we’re looking at this movement, why are we looking at it? Because it can’t be because you do it well, you have to come at it with, what’s your, what’s the reason for moving? What made you want to take that first step? What is it about the music? What is it about the story? What is it about you, your intention? What are all the things that make you, we want to see you? Yes. So, so I try to approach it that way. And you know, I’m working with Katie Holmes, who’s a dear friend. And I mean, I remember working with her very closely and, um, she wanted a dance. She wanted to dance more dance, and then we had done a couple of TV shows and, and then, um, I actually had this great idea put her on So You Think You Can Dance with a bunch of guys and Nigel gave us some funding to do this. Um, and I recreated Judy Garland’s Get Happy. And so, and I got to direct it. And so it was absolutely beautiful. So,  

Oh my gosh Tyce! We’re going to link to all of the performances that you’re talking about in the show notes to this episode. I haven’t seen that. I cannot wait to see that. I cannot wait to find it and share it with the world. It  

It was a wonderful moment. And, and, and working with someone, I love Katie Holmes. I love Toby Maguire. And, you know, and even Taylor Swift, who is a, um, a recording artist, a writer, uh she’s, you know, and working with her in movement. It’s like, it’s so interesting because she’s not, she’s not a natural dancer. And, you know, she would tell you that, but, but what what’s, so, and I’ve worked with her for so many years and I’m fascinated at, and I wouldn’t change a thing because she is such a storyteller, such a storyteller. So when she moves at, when she approaches something, she’s always like, well, why am I doing that?  It’s and she really is such a great artist. I mean, such a good writer. And so it was really, I loved, loved every second of every album and tour I’ve ever, you know, and we’ve always done great work together. And so I, I, um, I love it. And Megan Mullally is, is completely different. And Megan is like, you know, she’s like, okay. And I love people who are interested in how the dance gets made. She called me, I wanna, I want to know how you’re gonna approach this. Let’s talk about it. She’s like, because the way I dance is not the way everybody else dances. And I was like, amazing, great. We’re on a, we, we’ve got a, we’ve got a base that we can work with. So it’s sort of, she’s like, and, and, you know, each person comes with their own set of ideas that adds to the it’s a real collaboration. And, you know, I mean, it’s, and it’s, I think it’s all, it’s also as well. It’s all in the communication too. It’s all in how you communicate, how people are going to move and why, and, you know, because it’s a very haunting experience for some people to move, right?  

Oh, they’ve got ideas about what choreographers are and what dances. And I don’t know who is responsible for this, but somewhere along the line, dance and choreographers became terrifying for many actors. I don’t know who was, who was responsible for that, but it’s, that’s the thing that happened for sure. I see one of my, one of my many roles in being a movement coach is like deconstructing what those beliefs about what is dance and what is a choreographer kind of breaking those down to be far more human. Yeah.  

When someone walks into the room, whether they dance or don’t dance, or, um, I usually, I usually take how they walk, how they talk, how they are in life. And then you go with that grain. And when you’re approaching movement with someone, because you don’t want it to be scary, you don’t want it to feel like they’re, they’re having to like, like climb up at it and like not achieve it. And you want to empower people, you know? So you highlight how they walk, how they talk, how they behave, how they are in it, just in life and how they speak. You know, I, I always find that it’s helpful that you find out who they are and how that works together with the movement, you know? And, and so that’s always helped me tremendously.  

Thank you for sharing that. I think we overlap in our, in a lot of ways there. Um, one of the things I love most is explaining, you know, you talk about the importance of communication, and I love the creative challenge of explaining dance in non dance language. Um, it’s a creative, it’s a way for me to actively be creating when I might not be creating phrases per se, but, uh, creating new pathways in the brain and new ways of understanding a thing. I might be explaining a step in a way that I have never thought of it before, because this person doesn’t know the way that I’ve thought of it before all of the ways that a pas de bourres used to make sense to me, I’m now getting to question in order to help it make sense to somebody who’s never heard about it. It’s some of my favorite words. I love it.  

And I’m sure you do it so well. I mean, yeah. I mean, I, I got to see you work up close in, In the Heights, which was amazing, you know? And so you’re like a force and I got to dance right opposite you.  

Oh, I, yeah. I didn’t mention that is one of the only two numbers in the movie that I got to perform in and how much fun. Yeah. We have, uh, we have a moment you and I walking dead on towards camera. It is a very fleeting moment. It happens extremely quickly, but there we are. That’s our, it’s our, um, secret, secret duet where we have a lot of people around us. Um, okay. Well, I, I know that your time is valuable. I do want to do one more thing at a time valuable. That was a weird thing to say. I know your time is valuable, but I could talk to you for five hours. Um, I’ve noticed that five-hour podcasts only do well If you’re Seth Rogan, I always say Seth, by the way, Joe Rogan, that will tell you what kind of podcaster I am. I’m the type of podcast or that doesn’t know Joe Rogans name.  

It’s all perfect. There’s nothing you can say, Dana.  

That will not be perfect. Okay. Well, I’m so glad you said that because do you know how I want to close out right now? I’m grinning so hard. I’m about to cry.  

No, no, I know. I know what you’re going to do. What you’re going to do. Okay. Go do it. It’s like. 

I saw Will Loftis last night and I told him that I was going to be with you today. Immediately. He was like, it’s like the, 

I just had a heart attack. Okay. Give me, give me a word. I’ll start with your word. Um, cup. 

It’s like the cup without the water. It’s like a mother without her daughter.  

You so good. Its like a candle. 

No, you have, have to start, right? 

I have to start with the last part. I got you.  

Start with a word that I finished with. Oh. And then make the, um, it’s like, I don’t know. It’s like a cup without the straw. It’s like a courtroom without the law.  

It’s like the law without the judge. Its like the steeple without the justice. You have to rhyme!

Yes. I know. But you have to rhyme. The last one has to rhyme the second one. Oh man. Okay. So for everyone that is confused right now, this little rhyming game is the game that on the night we were shooting Paciencia y Fe shoot, which turned into a morning shoot because they were lighting the 190 first street, uh, tunnel. They were lighting it for probably six hours. So we were all in a holding area and Will freaking Loftis starts playing this rhyme game. And he is so very good at he’s extremely good at this game. Um, and Tyce, you were newer to the game and I cry, I cried off my makeup, laughing at how willing you were to be playing this game that you were not any good at. And that spoke to me. And I think that that is a life lesson that we could all glean from. You can have so much fun and you can be the life of the party and still be new to something.  

So hideous said that, and I’m like, why? Everybody’s a rapper And like, oh my God,  

Do you want to try one? Do you want to try one more?  

Yeah. Okay. Always. I should practice for the rest of my life. 

Here’s how it goes. The first word. And the second word are related. They’re related, but they don’t rhyme. And then the third word is not related at all to the second word. It doesn’t rhyme with it either, but it is related to the fourth word and the second and the fourth word must rhyme. Second and fourth must rhyme. Your first word is my fourth word. Whatever my fourth word was, we’ll go super slow.  

Yeah. Or how slow, like turtle slow.  

I won’t even keep a rhythm by the way. The rhythm is the fun part. The rhythm picks up. And then, and then your Will Loftis and you’re actually a rapper. Oh, he’s so good. He’s got to come on the podcast. We’ll do a full episode of, of just this game. Okay. Uh, blah, blah, blah. Okay. We’ll go. Thematic. It’s like the podcast without the host. It’s like the breakfast without the toast. Yes, yes, yes. Okay. Now toast to you. 

It’s like the toast without the jam. It’s like the it’s like the, um, wait. It’s like the, oh God. Yeah. You know? Oh, skillet without the spam. 

Yes. You’re frying the spam. I get it. So right. You did  

Okay. Okay.  

Okay. I’m kind of on your tip now. Okay. Yeah. So you had spam spam to me. It’s like the spam without the salt. It’s like the milkshake without the malt. Malt is a tough one. Malt is tough. I would have definitely, probably won that round malt malt.  

It’s like the malt. It’s five o’clock apparently it’s fine. Yay. It’s five.  

We made it to five. It’s like a malt. It’s like the  

Malt without the,  

You can use, you could, you might use ball like a multiple, like a melted milk,  

Milk ball. Like the mall without the ball. It’s like, uh, it’s like the, the school without the hall. Okay. Now I got you. Dana, 

You Got me. It’s like the hall without the lockers. It’s like the electric shock without the shockers. I don’t know that didn’t make sense. Does that makes sense at all? I would have lost that round. It’s like the electric shock without the shockers, whatever. Tyce It’s five o’clock it’s time for us to park today, but not forever. I’m so excited to see you again. Soon. Let’s go see In the Heights together. I would love to be like elbowing you in the ribs for, for an hour and a half. That’s what I want. Um, so thank you again for being here. I just had a ball. I smiled the entire time. My cheeks hurt. 

That was amazing and terrifying all at the same time. 

Are you sweating? I always sweat. Sweating. 

Sweating. So fun though. So fun.  

Fun. Okay. Here’s what we’re going to do. We’re going to set a schedule for us to meet and play that game. And then just without telling Will we’ll be like, Hey, Will, do you want to have lunch? And then we’ll meet we’ll for lunch and we will crush him.  

Okay. So now I’ve got a little, little seed of good things to come because you taught me now slowly. You also were playing and all were excellent. Oh,  

That’s true. You jumped into the deep with us. Yeah. Oh God phenomenal. All right. My friend have an amazing rest of your day. Thank you again for doing this. Bye.

I hope you enjoyed that conversation with Tyce. And I really hope you take this rhyming game and become a master of it because it is genuinely so much fun hours, hours just flying by and makeup melting off from tears. So much fun. Don’t piss off hair and makeup. You don’t want to be that guy. Try to preserve your makeup as best as you can. Um, all right. Y’all, that’s it for me. I’m going to get out into the world. I am going to encourage every single person whose path I cross to go see In the Heights in a theater. So Latin people receive only 4.5% of speaking roles in films like dialogue in movies, only 4.5% of it is spoken by a Latin person. Yet Latin make up 40% of the audiences that is so wildly out of balance. And as frustrating is that is to me right now in this moment, I’ve got this kind of like super, super sad satisfaction, knowing that studios listen to dollars. And so if people show up at the box office and the box office doesn’t lie, studios will see that people want these stories. People want to see these people in leading roles and people will pay for representation. I think that is the ticket. If you can, if you’re healthy, if you feel safe, go see In the Heights in a theater and bring as many people as you possibly can. That’s me asking you straight up because the box office is where you, the audience member get to ask for what you want and you ask for it with your ticket admission. That’s how you do it.  So please go out there, go see In the Heights. And of course go keep it exceptionally funky. And you know what else though? Keep it saucy because holy hell the sauce, the heat that comes from that film. Oh, yep. You’re not ready. Or maybe you’ve already seen it. You are ready and you just want to keep filling the cup. Please go, go and go again. All right. That’s it. That’s it for me really. But I want to keep talking about it. I’m going to reserve for Choreo team episode coming so-so so soon. Thank you guys for listening. I hope you’re great.  Thank you guys for listening. I’ll talk to you soon. 

Me again. Wondering if you ever noticed that one more time. Almost never means one more time. Well, here on the podcast, one more thing actually means two more things. Number one thing. If you’re digging the pod, if these words are moving you, please don’t forget to download, subscribe and leave a rating or review because your words move me too. Number two things, I make more than weekly podcasts. So please visit thedanawilson.com for links to free workshops. And so, so much more. All right, That’s it now for real talk to you soon. Bye. 

Ep. #32 Talking Mime (Audition August Episode 1)

Words That Move Me with Dana Wilson
Ep. #32 Talking Mime (Audition August Episode 1)
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 If you’re inspired by movement, get ready for a swift kick in the spirit!  Allow me to introduce Lorin Eric Salm, Mime, movement coach, and character movement specialist.  In this episode, Lorin explains how much more there is to mime than white face paint and stripes.  Mime is making the invisible visible.  So, close your eyes, listen close, and let’s go!

Show Notes:

Quick Links:

Lorin Eric Salm: https://movement-coach.com

Transcript:

Intro: This is words that move me, the podcast where movers and shakers, like you get the information and inspiration. You need to navigate your creative career with clarity and confidence. I am your host master mover, Dana Wilson. And if you’re someone that loves to learn, laugh and is looking to rewrite the starving artist story, then sit tight, but don’t stop moving because you’re in the right place. 

Dana: Hello friends. Welcome, first-timers and welcome back to those who are coming back for more words that move me. You are walking in to episode one of a very special series. This is week one of Audition August four weeks of talking almost exclusively about auditioning and booking work. Whoa, I’m jazzed. Um, I’m going to start off with a very special story. One of my favorite audition experiences, although don’t worry, there will be plenty of time to go into my least favorite audition experiences, but first wins this week.  

My win is that I met Josh Smith. I have admired Josh’s sweet, sweet moves, uh, for some time now, but recently I got to interview Josh for a special episode of the podcast in partnership with CLI that episode will be available to you here after audition August. So be sure to stay on the lookout for that because Holy smokes, what a great conversation, what a great human, very stoked on that episode. Um, but I’m celebrating this as a win because I’d never met Josh. Um, and the thought of a 30 minute conversation with somebody that I’ve never met being live streamed, eventually reaching hundreds of thousands of dancers and educators around the world made me super nervous. Um, before I went into it, though, I remembered this saying that my acting teacher, Gary Imhoff once shared with me years and years ago. And it’s very appropriate for audition August that I’d be gifting you this thought.  Now Gary said that butterflies or the fluttering feeling that’s rapping on your insides when you’re nervous about something, those butterflies aren’t nervousness at all, they aren’t self doubt, they aren’t fear. The feeling of butterflies wrapping on the walls of your stomach is actually your potential knocking and asking to be let out. This thought is one of my favorite thoughts to bring with me when I head into auditions or nerve wracking situations, um, in my case, this interview, and let me tell you what it went so well, Josh was so kind, so insightful and so open. Um, I really felt myself rise to a new level of potential in my question, asking in my interviewing and I sense the potential of a budding new friendship. So, boom, that’s my win. What’s yours this week. What’s going well in your world.  

Okay, great. Congratulations. I am so happy for you. I’m so glad that you’re winning. You deserve it. Keep crushing. All right. Speaking of crushing, I’m going to start today with a story of my favorite audition experience. This is many, many years ago now, and I’ll start at the very beginning, which is a very nice place to start.. Name that lyric. Anyways, I got an audition breakdown for my agent that was for a project Rhapsody James, one of my favorite choreographers and dancers and creator types. Um, she was putting on a show called Sirens Assassins. It was actually a remounting of a work that she had already done. She had this, uh, this company, this creative project of hers called sirens assassins. And, um, the show is more or less. And I hope I’m not doing it a disservice by giving it the, um, the supermicro wrap up the cliff notes, if you will, but  Sirens. Assassins is a show about women who possess very specific gifts, skills, or talents that make them in some way lethal. So these are not women that you want to cross. In other words, the show itself is very dark, very sensual, very mysterious, very exciting. It is like a film noir, but a show noir. So anyways, Rhapsody is remounting the sirens show. Everybody knows and loves the show. Everybody knows and loves Rhapsody in the breakdown of the audition. Now Rhapsody was calling specifically to replace a few existing roles in the show, but she also was asking for new characters. She asked to bring any ideas, bring yourself, bring yourself fully, of course, and is always dress body conscious, which is code for dress enclose that reveal your body not conceal your body. Another wardrobe note was to wear all black.  

Okay. So this audition hit me with a one, two punch super combination, knockout. Number one, open call. So many people I’m already thinking, Oh my gosh, Oh my gosh. Number two, dress body conscious as a person that was not 100% confident with my body anxiety dials up a little bit. And number three wear all black. Okay. How am I going to stand out? I decided in that moment, that one way I could stand out, it would be two elaborately disobey the call to wear all black and wear all white. I imagine that is being a surefire way to stand out, although possibly not in a great way. So my mind kept massaging. This thought of wearing all white. And then I eventually thought to myself, what if I even painted my face white? What if I was a clown? What if, what if this call for new characters?  What if that is where I stand out? Not just in what I’m wearing on my body, but what I’m doing with my mind. Oh yes. Oh, I like this. Let’s go deeper. What if I’m a clown? Scary clown. Yeah, it’s been done. Maybe that’s a little bit too on the nose. What about a mime? What if my mime character, my mime assassin had invisible objects that did real damage on the stage. What if the swing of an invisible machete sprayed blood across the back of the wall or the imaginary pulling of a ring out of a hand grenade thrown into a group of dancers that then jumped and hit the ground. Like, could we really dial up illusion and give this mime character a really, really cool and really, really invisible edge? I became so jazzed on this idea. I kept whirling and going and going deeper and digging in. At the time, also, I’d like to mention how lucky was I to have a makeup artist as a roommate? How lucky was I to have Gia Harris, makeup artists extraordinaire as a roommate? So she and I got right to work concept locked, loaded. Execution, oh my gosh, give me strength. I showed up a little late to the audition. Deliberate. Wouldn’t recommend it. I didn’t, I want to get there early and be tempted to converse with my fellow dancers or with Rhapsody herself. I had committed so fully to my concept that I knew I would not speak a word from top to bottom. So I arrived late partially for dramatic effect, but also partially so that I could really, really commit and sell the silence. I entered the room with the squeak of a door and almost every step that I took also had a squeak. You could hear a pin drop, a gasp, and it took people a while to recognize who I was obviously face paint. As soon as Rhapsody recognized me, she shook her head with a frown, but a sparkle in her eye that said, thank you. And also what in the heck are you doing. Now, I knew Rhapsody relatively well. Well enough to know that she favors the bold and brave ideas. Oh, that reminds me perfect example of one of my favorite quotes by Shirley McClain, who happens to also be front and center on the vision board of my life. Uh, she says, don’t be afraid to go out on a limb. That’s where all the fruit is. I’d like to add that it is also where the branches get thinner and susceptible to breaking. So you might fall, but alas, it is where all the fruit is. So at very least it is worth a risk assessment. I remember dancers in front of me beside me, behind me in 360 degrees, absolutely killing themselves to get Rhapsody’s attention. I mean, flipping, turning, jumping in heels and not much else for most of these ladies. And all I did was stand, pretend to lean on a fake wall or table smoking invisible cigarette. And when it was time to dance, I danced, I found several places in the choreography to layer my ideas about these invisible weapons and something, whether it was visible or invisible sealed the deal for me that day, I booked the job as a mime Rhapsody wanted the mime. Let’s have a conversation about the difference between being special and having special skills. At the bottom of a dancer or performers resume. There’s a section for special skills. And honestly, when I’m sitting on the other side of the casting table, that’s where I look first. This is where you get to tell people if you know how to fence or do aerial work or operate heavy machinery, like a forklift, true story.  I’ve seen it under special skills on a resume can operate a forklift. I love this stuff. It’s what really sets dancers aside from one another and under my special skills at the time I auditioned for Rhapsody, you could absolutely not find mime because it wasn’t a skill that I had. It was a special idea that I had not a special skill. Enter panic. I knew that if I wanted to portray this role and my creative vision to its fullest, I needed to back it up with actual skill, actual technique, actual mime training. So I did what I do. I hit the Google and I searched for best mime teacher in Los Angeles, kid. You not the first three results pointed me to Lorin Eric Salm and his mind theater studio. Lorin is a full time performer, mime instructor and movement coach. Most recently he coached, uh, Jesse Eisenberg in the role of Marcel Marceau himself for the film resistance, which is a must watch by the way, extremely beautiful and extremely relevant. Even though it takes place during world war II. Lorin brought me the tools that changed my craft more than any dance training I ever received. And he and I even went on to create our own curriculum. Mime technique for dance, which you will be seeing a second season of very, very soon. Please stay tuned For those details. We’ll talk a little bit about that in this interview. Um, but today I’m bringing you just a part of that conversation with Lorin, because believe it or not mimes can actually talk for quite a long time. The whole interview is available by becoming a member on my Patreon page, www.patreon.com/WTMMpodcast I will link to that page in the show notes where I will also link to Lorin directly. One of the great things to come from this pandemic is that right now, Lorin is doing all of his workshops online. He just started a level one intro workshop. It’s a six class series. Unfortunately the first workshop is already underway and sold out. But for anyone that’s interested in really blowing the lid off of their training, adding a super special skill, please email Lorin so that you can get information about registration details for the next workshop, email info@mimetheaterstudio.com.  

Again that’s info@mimetheaterstudio.com or you could call 310-494-MIME (6463) which is super cheeky. I really do recommend that you seek him out. He is a busy, busy guy, but if you can train directly with him, Holy smokes, it is so worth it. Alright. Alright. That is it for me today. Enjoy the first episode of Audition August and enjoy listening to mime and movement expert Lorin Eric Salm. Oh, and trust me, by the way, the irony of having a mime on a podcast is not lost on me. All right. Enjoy.

Dana: Lorin Eric Salm. I am so excited. You’re here. Thank  you for being on the podcast. I am jazzed about this.  

Lorin: It’s great to be here. I’m really happy. You asked me to do this.  

Dana: I’m thrilled. Um, let’s get into it. Let’s get the, let’s get this train and move in. Um, go ahead and introduce yourself.  

Lorin My name is Lorin Eric Salm. Uh, I’m an actor specializing in mim8e and character movement. And I also teach mine and character movement. Uh, and I do that through workshops and classes and I do and private coaching. And I also do that through movement coaching for film, television commercials, music, videos, animation, um, all kinds of on-camera applications where character movement is important.  

Dana: Okay. So on the teaching front, um, can you recall some of those first few sessions that we had together?  

Lorin: I think that the thing I probably remember even more than specifically what we worked on was just us meeting each other and, and my getting to know who Dana Wilson is because, um, it was, I mean, I felt like we hit it off really well. Personality wise, you’re, we’re, we’re both so, um, enthusiastic and passionate about what we do. That it was excitement on top of excitement. Um, and I remember, I mean, I think I started, uh, by teaching you some of the fundamental concepts that I teach everyone who is new to mine. And, um, that’s always my first, my first step. And then the next thing that I, I think I did with you was try to focus on how, on what you needed to do, how you needed to apply this to what you’re going to do, how much of it was traditional mine, how much of it involved dance, um, or something else and how that was going to require us to, to tailor or work toward the goal of that particular role.  I wasn’t sure what you knew and what you didn’t know and what was going to be new to you and what you were going to look at and say, Oh yeah, this is something I already know how to do. So I was, I was excited about the things that were new to you. And, and I remember some of them where it was like a revelation of an entirely new way of looking at something perhaps that you did know, but it was a whole new way of looking at it. And, and I know that that was an exciting part of those sessions that we did together was giving you a new way of looking at movement. I mean, for someone who’s experienced in movement, as you were at already at that time to give you a new way to look at it in a way to expand on that was exciting for me and for you.  

Yeah. It was like, it was like dance gets in a room with mine and dance loves mine and mine gets in a room with dance. And my mime like, wait, are we the sec? Are we the same thing? Is this like weird self-love that we have? Um, yeah. In, in my studies with you, I was always blown away at the overlap between mime and dance. For me, I think mime does a really, really good job at explaining possibilities of motion and explaining combinations of movement and explaining parts of the body and explaining dynamics of movement. I just, I remember hearing you say words and being like, Whoa, that’s what that’s called or that’s what you call it. And I’m feeling so glad that there was in fact a name for things. And in mime that in many cases there’s a diagram for things. And, um, I am a sucker for words, obviously, cause here we sit, uh, in my podcast, but I also love notation. I love preservation. I like to think of myself as an archivist. Um, and I think you are as well. You are, you are writing a book about mime and you are one of the few, um, in our time. And certainly in this city that I know of that have trained with Marcel Marceau, one of the greats. So I knew that you were something special. And I knew that the relationship between dance and mime was something special, something that I wanted to dig more into. Um, and you and I did eventually create a, um, more or less, I guess I’ll call it a syllabus. We created a training program called mime technique for dance and we broke, we broke it down into a, a five week class course. Um, we’ll get, we’ll get to that in a second. But for those that are listening that don’t know much about mime or might think white face paint and white gloves when they think about mime. Um, could you tell those listeners which no shame, if that’s you, uh, could you talk us through the difference or the differences between pantomime, traditional mime and corporeal mime, which is what became such an important part of  

our course. 

Sure. Well, I think that, um, a lot of people’s impression of mime or knowledge of mine is limited by what they’ve seen. Film and TV tends to have a very narrow idea of what mime is and what it can be. A lot of it, if not all of it comes from stereotypes that grew out of Marcel Marceau’s work. Marceau of course is it was the world’s most famous mine throughout most of the 20th century and the, the first one to be widely covered on, on film and TV and for a very long time, for many years, um, as he helped, re-popularize the art. Most people were copying what he was doing and for, for a long time. So any stereotypes that grew out of that came from his, his look, uh, his costume and makeup, his style of performance, the, the, the types of stories that he would tell in mime and because Marceau wore white face makeup, that was probably the largest part, the largest stereotype that grew out of it. So almost universally when people think of mime, they think of white makeup. Um, it’s kind of a long story, but yes, the white face tradition came from a character named Pierrot. Pierrot was the central character in the pantomime of 19th century France. So to give honor to that tradition Marceau wore the white face makeup. It was never his intention that everyone wear white face when doing mime, but because people copied his style, they also copied the white face. Many of them have no idea where it originally came from. Um, also what people copied were the illusions that Marceau made famous, especially early on when, when people weren’t very familiar with mime, part of Marcel’s performance was performing the illusions almost separately from any other context so that people could appreciate the technique and the art and the virtuosity of mime. And that was one of the things that stuck. He popularized things like walking against the wind and an illusion that came from a piece he had called the cage, which involved creating the illusion of what looks like an invisible wall. Um, he also did the tug of war, um, which is holding a rope, walking upstairs, things like this that became very common illusions, um, attached to mime, but Marcel, his work went far beyond that. Um, he has, he had comic pieces, dramatic pieces, lyrical poetic pieces, symbolic pieces, and it’s a much deeper art form that goes far beyond simply creating illusions. There is of course acting involved. Um, when we think of pantomime and mime, nowadays, the terms are largely interchangeable. You really have to go back into history into the 19th century and even way back to ancient Rome and look at how at what mime was like in different periods in time to understand the differences between those two terms. And it would take a long time to go through those. So I’ll basically just leave it at, there are historical differences between the two and today we don’t largely differentiate between those two terms when it comes to you asking me about corporeal mime though, as well. Um, there is a big distinction between pantomime and corporeal mime. When if you ask someone who knows corporeal mime, what pantomime is, they will sharply distinguish it from what they did. Um, corporal mine is, is a technique that was developed in the early 20th century by  Étienne Decroux like Marceau was also from France. In fact, he was Marceau’s teacher, um, around the late 19s and 20s and early 30s, Decroux decided to recreate mine from scratch and in studying the body, what you can do with the body, how the movement of the body works and how you can use it expressively in, in acting. He created this technique. He called dramatic corporeal mime. That’s the full name of corporeal mine. Um, and it’s based on a very structured technique, breaking down the body into individual parts and studying how to move those parts individually, isolated from the other parts and in groups of parts. So a lot of it is getting to know how your body moves very, very well, very technically and, and expanding, creating a movement vocabulary. I mean, corporeal mime offers a movement vocabulary and it expands the performers movement vocabulary, whether they didn’t have one to begin with or whether they have one that perhaps comes from a different, um, approach to movement like dance or acrobatics or, or, or acting, um, it offers a, an expanded way of understanding how you can move the body and how you can use it expressively,  

Beautiful Put a stamp on that and ship it. Um, as you were talking about corporeal, mime being a very technical, um, or let me, let me say this corporeal mime has a very technical way of breaking down the body into parts and then groups of parts. Um, and there are names for all of these parts and groups of parts, and there are ways that they can move together or isolated from each other. And I remember that as I was learning this skill set from you, or as I was learning this technique from you. I remember being in a bathroom at SNL studios, practicing how to isolate my head from my neck, looking at like looking at myself in a mirror, in a suit and tie, we were, were, uh, going to be performing Suit and Tie with Justin Timberlake in like an hour and a half.  

And I was standing in the mirror, looking at myself, trying to hold my shoulders still until my ear, closer to my clavicle without moving my neck. And it’s that degree of detail that corporeal mime really focuses on. And I had no clue how little control I had over my, over my body. I really fancied myself a person that, you know, knew what I was doing all the time with my body. And I really had to try hard to accomplish these seemingly very simple tasks. So I had, you know, from that point on, I was smitten with it and I really committed to achieving an awareness of my body and this kind of, I guess it’s more than awareness. It’s an awareness and a control and an ability to describe what I was doing that corporeal mime gave me. And I think those are the key points that we tried to bring forward with our workshop, mime technique for dance. It really was geared towards achieving this awareness and control and way to describe what we’re doing with our bodies. And, um, it was so much fun for me creating that syllabus with you was such a ball. It was challenging, but it was so much fun.  

So our first class was isolation, which I, how would you explain isolation to a person that’s not a dancer or a mime?  

Um, well, it’s, um, a little, like what I mentioned before, it’s learning, it’s first knowing the parts of the body that you’re working with, uh, in, in life, when we move one part of the body, we tend to move more than one part of the body without meaning to, or even being conscious that we’re doing so. You move your head and your neck almost always moves with it. Sometimes you move your head by moving your neck, but even when you, when you think you’re just moving your head, you don’t realize how much your neck is moving as well, 

Or your hips for that matter.  

Yeah. Yes. You, you go to move your chest or your waist and your hips or your hips naturally get pulled along the way. Um, it, it’s not natural for us to isolate one part of the body from the other. They usually isn’t reason to do so. So we’re not aware of how to do it. Um, but when you’re using your body, expressively and movement is everything. You want to be able to move the parts you want to move and not move the parts you don’t want to move. So that, um, because there, there is a difference. One, one thing, one movement says one thing and another movement says something else. So part of the work is understanding very carefully where one part ends and the other begins and working on different ways of holding some parts still, while moving other parts, it’s always a balance of tension and relaxation of movement and resistance. There’s a lot going on and it takes a while to learn how to do it.  

I like to think of isolation as being how you direct the audience’s eye. Um, and I think of movement in terms of volume. And I would want to make very, very quiet a part of my body that I don’t want the audience to be looking at. And then I turn up the volume on the part of the body that I do want the attention to go to whether it’s my leg or my hip or my shoulder, um, everything else gets quiet, almost muted. And then I dial up that, that part that I want to highlight or spotlight. And, um, it’s a very important thing for a performer to know how to do be they dancer, actor, mime, you name it, um, that type of directing the eye or magician for that matter. 

Yes, yes. For magicians. I I’ve taught magicians before. And of course directing the audience’s eye and their focus is, is extremely important. Um, and movement can attract the eyes. So if you want to, for instance, if you want to get them to look at one thing and not another, um, being able to hold one part still or minimize the movement of that part while moving some other part can be useful in getting the audience to look where you want them to look.  

Um, and then week two, we dug into character and this, I think, Ooh, it’s hard to pick a favorite, but character might be my favorite part. In our character workshop we talk about a movement center, which I would explain to a dancer as being the part of the body that tells the audience the most about the character, um, with while saying the least. So I don’t have to do a full dance to explain. I could just stand there and by highlighting or spotlighting this one part of the body, the movement center, the audience would know who this character is and what’s important to them. Oh, I think we also, um, covered the Commedia in that class. Did we do that? Do we talk about Capitano and Columbiana and Arlecchino. Who else? Who am I missing? 

Pantalone 

Can you talk about those, those four characters real quick?

Sure. The Commedia dell’arte was the Italian comedy of the Renaissance era. And from that, um, tradition comes a whole set of characters that are very broadly defined, not only by their personalities, but by their physicality, uh, studying the comedic characters is a great introduction to understanding how clearly different one character can be from another, by connecting the physicality to the personality you’re trying to express  

Well said, well said, um, let’s see, moving right along week three, we covered dynamo rhythms. Um, how would you explain dynamo rhythms? And, Oh my gosh, it would be a good test. If I can remember the 10

Well, the name dynamo rhythm, it’s a combination of the dynamics and the rhythm of a movement and of movements as they relate to each other.  

And as they relate to time, like how they move quick or slow or a combination of quick and slow.  

Yeah. Yes, exactly. Exactly. So, so the, the dynamic, the dynamic part is things like, uh, tension and relaxation, um, and an accent, I guess you could say. And the rhythm part is what you were saying. The relationship to time, the tempo, speed and the what ends up being a rhythmic relationship between each movement and the movements before and after it  

Incredible. And we’re just halfway through our course.  

You wouldn’t explain what those 10 different dynamo rhythms are. Otherwise we might be giving away our course.  

Oh yeah. You don’t get that for free. Come on now. Come on now. Um, okay. In the next week we covered imagination. I suppose we dug a little bit more into illusions that week. Oh, segue in, uh, the difference between subjective and objective mime. Could you talk about that a little bit? I remember my mind being blown in our first couple of lessons. You helped me understand how I use my imagination to see an apple hanging from a tree, but how I use my body to show the audience how far away that tree is and what my emotional relationship to that tree and that apple are. Um, so, so using objective mime to explain the object and using subjective mime to, to explain things that do not have physical forms. Yeah.  

So when you’re, for instance, creating the illusion of picking an apple off a tree, you’re using objective mind to show the tree, to show the apple and using subjective mime to show your thought process. What you’re thinking about when you’re dealing with these objects, why, what was the thought behind wanting to take an apple? How do you feel about it? How does it taste, um, what’s your reaction to tasting the apple? I’d like to think every performance involves subjective mime, if not objective mime, whether you’re you’re dancing or acting or, or doing mine or, or anything really it’s. If we can’t see some kind of expression of your interior state, of being, what, the quality of your thoughts, um, the, what kind of emotions you’re expressing, it can be a very dry expression of technique, or maybe not dry. The technique can be impressive or entertaining, but it can also, we can also feel like we’re missing a connection to it. Um, if we don’t get something from inside you and that’s, uh, the emotion or the thought behind the movement, um, adds so much more to it, and that helps you connect to your audience. So that’s where subjective mime comes in. There’s, there’s definitely something different when we can see that there’s a thought process there, and that the movement is the result of a character that’s thinking and feeling something and not just executing movement, no matter how well they do that movement,  

That actually reminds me of an incredible quote that I have, um, from my acting teacher, Gary Imhoff, who says, I believe these are his words. That could be somebody else’s words that came through his mouth. Um, but Gary always said, and I’ll never forget “Stage presence is simply the amount of interest you have in what you are doing” and being engaged in some sort of imaginary thing is being interested in something and being interested in something is attractive. And so, you know, you will see, or you might say that somebody with stage presence, you might not be able to put your finger on exactly what it is that they’re doing, but I can tell you it’s that they’re interested in something they are thinking of something other than simply executing five, six, seven, eight.  

Yes. Yeah.  

So, um, come take our class. I’m not even, we’re not even done. That’s true. Okay. So that’s number four. Um, and then our fifth week, okay. This one might actually be my favorite on the subject of being interested and being interesting and being expressive. Um, week five is all about emotion. Uh, can you explain some mime attitudes for us? What, what is an attitude in mime?  

Um, this is something that is very much from Marcel Marceau’s approach to my mom. Marceau when he, when he was asked to define mime or, or to describe mime, he would always say, it’s, it’s an art of movement and attitude. Attitude is part of subjective mime, really it’s expressing your internal state of being. So there’s, there’s an external, the external attitude is the, the position the body is in whatever, whatever position the body is in whatever posture or whatever your arms and legs are doing, what your head is doing. That’s the external attitude of the body. The internal attitude is the psychological and emotional state that you’re in. Which of course we can’t see. So it has to be in order for us to, to know what it is it has to be expressed with the body somehow. Um, so the attitudes are a series of, of movement studies, where we look at at different emotions and how those emotions express themselves, themselves in the body. And being able to do that involves exploring that emotion and finding, finding what is, what I like to say is essential about it, finding the qualities that are essential to that emotion. Um, and then once we know, once we can put it into a single statue, then we can start to move it around and know, know what elements of that statue to carry into the movement.  

I love that explanation. And I think you just revealed one of the other reasons as if I needed any more reasons that I love mime and that’s that it is very deliberate, very specific, um, that all of the fat has been stripped away. You have what you called essential qualities. And to me, essential qualities become universal qualities. I grew up in the suburbs of Aurora, Colorado. So let’s say somebody grew up in the jungles of the Amazon rainforest. They might see the mime attitude for fear and understand that that character is afraid. These are like universally spoken and universally heard, but without words, it’s so poetic. It’s so beautiful. And I I’m geeking out right now, just thinking about how beautiful that is. 

So when you’re not learning and you’re not teaching, you’re actively working, whether it’s with an animator or as a movement coach, actually, one of the things I’m very, very excited to talk about is your latest project as a movement, coach and choreographer, um, on the film Resistance, starring Jesse Eisenberg. And I’m thrilled to see it. It was just released  

Movie releases right now are not what they usually are.  

Yeah, it’s a funny thing, isn’t it? Um, but still it’s, it’s been a special release and Jesse’s talked a lot about the process of preparing for this role and he talks a lot about you, and I’m so glad that he does. I’m always fascinated in hearing about how actors prepare physically for roles that are very physically demanding. Um, and this film, Jesse is portraying Marcel Marceau and Whoa, what a daunting task. Um, I’m so glad they found you. Could you tell us a little bit about how they found you?  

Sure. Well, uh, I’ve been, I’ve been doing movement coaching for film and TV for, I think about 18 years. So my name is out there as a, as a movement coach for this sort of thing. But when it came to finding a coach or not only a coach to teach someone mime, but to teach someone how to play Marcel Marceau. Who’s widely considered the greatest line performer of our time. That was something more specific. And, um, I actually heard about the film early on after the first press release was put out that the film was in development and that Jesse had been cast to play Marceau as soon as I heard that, I immediately started trying to do everything I could to contact the producers, to tell them I’m the guy I’m, I’m, uh, I’m the movement coach that you need for this project.  Um, and, and I, I couldn’t, I couldn’t find them. I tried every bit of, um, contact information I could find for them and for their company. And I absolutely could not get through to them. I was as frustrated as I was about not being able to, to get through and talk to them. I finally had to give up because I didn’t know what else to do. Months went by actually I about a year went by, uh, and I figured that ship had sailed. They were making the film was made. They found someone else, and I lost my chance to work on it. And then one of my students said to me that they had just seen a press release about the film, uh, that they were still casting some other actors. And when I realized that they were still casting and hadn’t shot the film yet, I thought, wow, maybe there’s still time to get in on this, but I still didn’t know what else to do.  Uh, I asked someone who I knew in the industry, um, someone who is a, uh, a manager that, who didn’t represent me, but I thought might have connections that could get to the producers in some way that I wasn’t able to. So I, I asked them for, for help with this. And, and they said they would, um, even though it seemed like kind of a long shot at this point, since the film was already so far in, but they said they would give it a shot. Literally two days after I asked them for help, I get a call from the director and he asks to meet with me. So I meet with, with him and the producer over lunch and somewhere in the conversation, I casually asked him how he heard about me. And, and he says, I found you on the internet.  

See, I’m telling you Google 

But, but I said, I said, w so you, you, you just did, uh, you just did a search on the internet and that’s how you found me. And he said, yeah. And I didn’t want to be specific, but I said, just to clarify, I said, did someone tell you about me before you looked me up? And he said, no, he just on his own, did the search and found me. And somehow his finding me had nothing to do with this person who just two days earlier, I had asked to try and get to the director. It was just some cosmic coincidence that when I took this one last shot at trying to get on this film, the film found me  

It was destined. And I’m so glad that it happened. And I’m glad that you were found because it seems like, well, it sounds like, I haven’t seen it yet, but it sounds like from everything I’ve read that you did an incredible job and I’m not shocked by that. Um, it sounds like Jesse took really well to the training. Um, and in all of the interviews that I’ve read, uh, Jesse talks about working with you as being kind of a two pronged approach, this academic side, where you taught him a lot of history and gave a lot of insight into who Marcel, you know, the person that is him. Um, but then of course, there’s the physical side. Um, the learning of the techniques, the rehearsing, the learning the choreography. I’m wondering if, when you do this type of work, if that’s always your approach, do you always take an academic and a physical approach to teaching this type of work?  

It depends who I’m teaching for what purpose. And in what context, when I teach my own classes and workshops, I, I do mix the history in with my teaching, because I think it’s important for our students. Not only to learn the technique and learn and learn how to use it, but mine is it’s different than if you go to take an acting class, or if I, if I might say a dance class, um, it would be unusual in, in either of those, for the teacher to feel the need, to give you the history of theater or the history of dance for you to be able to understand what you’re doing. Partly because more of those things are, are commonly known, whereas mime, most people, no don’t even know the history of mind back to the beginning of the 20th century, much less all the way back to ancient Greece. And not that they have to, but, um, I, I like people to know something about the art and where the techniques come from that i’m teaching them and what the difference is between one kind of mime and another kind of mime. Um, and so I naturally mix that in also because I’m very interested in it. So I think I naturally introduce that as part of my, um, teaching it to other people. But if I, if I was coaching someone, um, you know, sometimes if I coach for film or television, I have very little time to work with an actor. I may have a few sessions with someone. I may have one session with someone I might even be brought directly onto the set and coach someone right before they’re going to shoot a scene, which is certainly not ideal, but sometimes that’s all I get. So I don’t have time to, to add the surrounding material I have to get directly to, this is what you’re going to do, and this is how to do it. Um, with Jesse though, not only did I have a lot of time to work with them, we, we worked repeatedly over a span of several months. Um, and we had hours at a time to work together, um, sometimes consecutive days at a time to work together. Um, but for him, it was also, not only had to do a scene or two where he performed mime, he had to play the character. He had to play Marceau and understand the character and why, where Marceau learned mime and, um, how it figured into his life and him as a person. And, um, so I, aside from my natural tendency to introduce history into the lessons and be very academic about it, it was also part of helping him understand more so in where Marceau fits into mime. I mean, who this guy was and why he became the most famous mime in the world, even though Jesse didn’t really have to worry so much about that in the story, because almost the entire film takes place before Marceau began his career as a mine performer.  

A lot of people ask me the difference between movement coaching and being a choreographer. I like to think of movement coaching is everything that doesn’t involve account all movement that is not count specific. Once you give a one, two, three or five, six, seven, eight, that becomes choreography, but everything else from the way a character sits, stands, walks, you know, all, all other movement elements of a character would fall under the scope of work of a movement coach. And I love doing that type of work. And I love the way that my mime training has supported me to do that type of work. Um, it’s, uh, it’s delicious. It’s so much fun. So on the subject of choreography though, because you also did choreograph the mime in the scenes of this film, um, how did you reference Marcel’s more familiar works and his style without actually ripping off or like in the dance world, we would call it biting. How, how did you show that this is Marcel Marceau without ripping off his moves or his phrases?  

Well, that was a careful line to walk. We the director, and I agreed that we didn’t want to use Marceau’s choreography directly. We didn’t want to have Jesse perform an actual mime piece that Marceau had created, um, for, for a number of reasons. But one of which again is that this whole film takes place before Marceau started as my career and began creating the work that he’s known for. But it was important that particularly for people who know Marceau’s work, that they could see in this younger character, the, the person who was going to become that famous mime, that everyone knows. So we wanted to include it in my choreography I wanted to include things that alluded to was, were things that were recognizable, that someone might have seen in one of Marceau’s pieces that he choreographed, but it was also important to capture more so style in my own choreography.  Um, so I, I guess I sort of tried to choreograph the pieces as if Marceau was choreographing them. It’s a combination of his technique, which, which he really didn’t have much of at the time the movie takes place, because like I said, he hadn’t studied mime. He hadn’t studied with Decreux yet, so he didn’t really have the technique, what he had was his innate talent for movement and his, his talent for imitation I’m imitating the silent film stars that were his influences, like Charlie Chaplin, Harold Lloyd, Buster Keaton, um, and, and just imitating people. Um, but I, I put some of that technique on top of that, even though he wouldn’t really have had it yet, so that his movement would somewhat resemble the movement that we know when we think of more so, so I had to bring his style into it and at the same time, avoid my style because although I use his technique, I use it in my own way. And, and here I had to very careful that I was teaching Jesse to use more so style and not my style. So that was a part of the work. The other thing was, mime is not just movement it’s drama. So there’s more so has his own dramatic approach to telling a story, to expressing a thought. And that’s something that I know very well from having studied with him. So I put, I tried to put Marceau’s way of approaching drama into, and when I say drama, I mean, comedy and drama. I mean, I mean, that’s a lot of right there, there, there, there are other aspects of it, like the way that it was written when, when Jonathan Jakubowicz, who, who wrote and directed the film, when he wrote the mime scenes for the film, he had specific, well, someone’s specific sometimes general ideas of what was going to happen in the mime scene.  And, and that was what I had to choreograph. So, um, I also was, um, I wasn’t just creating standalone mind pieces for their own sake. The mime pieces that were in the film were related to the plot. They had to further the plot in each scene. So that was a consideration I had to take. And of course each scene could only be so long. So I had to work within the confines of how long the piece could be. I sometimes had to have certain parts of a piece move faster or slower based on the scene or how they were going to shoot it. I couldn’t just choreograph these as if they were mime pieces that I was going to perform on stage any way I wanted to, they had to, it was done for a film. And that, that was something was something different, not to mention the fact that they were going to be performed on camera, not on the stage, and that also necessitated choosing movements and qualities of movements differently than I would if they were going to be performed on a stage  

For sure, a whole different batch of considerations. Okay. Here’s what I want to finish with. I could not myself,  If I did an entire episode and not talk about the one mime technique that changed my life and dancing the most. Um, when I say life, I mean, truly like the way I physically show up, uh, for myself in the world every day, and that is suspension. So when I put, um, a pin in breath earlier on in the conversation, this is what I’m talking about. Um, suspension, probably suspension was probably one of the first things that you taught me. So I am wondering Lorin Eric Salm, if you could talk us through a quick, um, explanation of what is suspension and maybe if we’re all in a safe place I.E. not driving, um, if we could join in on this, uh, physically as you talk us through it..  

Wow. Okay. Um, maybe the notes suspension is, is very much a Marceau approach to mine. It’s the foundation of Marcel Marceau’s technique, but not all mines use suspension. Uh, some of them arrive at suspension through another approach to their movement. They, they arrive at something equivalent to, or similar to suspension without necessarily using Marceau’s technique. Uh, there was, there are plenty of mimes though, who don’t have suspension at all. Um, it’s not something every mime performer knows about. So I should say that. Um, but knowing that it’s the, perhaps the most important thing of Marceau his whole technique and knowing that Marceau was Marceau it certainly makes you, uh, hopefully interested in knowing what suspension is and learning how to use it. Um, suspension is, let’s see, I’m trying to think of how to put this. I always have the benefit of being able to use my body to explain suspension while I’m doing it  

Right. Podcasts is such an unnatural place for a mime to live.  

Actually it is. Um, suspension is a way of giving life to the body, visual life, to the body, making you, um, making you interesting to look at. And I don’t mean in a stylistic way. I mean, making people want to watch what you’re doing. It’s a way it’s a, it’s another way of giving. You talked about stage presence earlier. It’s a way of holding and moving your body in a way that, that adds something to it that we don’t see in everyday life. That makes it, I always like to say, if you want to see everyday life, you can just walk outside and look around and you’ll see people walking around as they do in life. That’s everyday life. When you see someone on stage or in a performance on camera or on a stage, we expect to see something more than that. And, and, and, uh, a theatrical performance. It seems like it’s missing something. If it’s, if we just move the way we do in everyday life, we have to add something more to it and make it more interesting. Suspension is a technique for doing that. And it’s rooted in the breath, I guess. Uh, you asked me to give you something. You could try, try breathing in slowly. Uh, and as you breathe in, imagine that you can actually see the breath entering the body and follow it. Not only down into your lungs, but imagine it could go up into your head and fill your head. Imagine it could go out through your shoulders, down your arms, through your hands, all the way, the tips of your fingers. Imagine that it passes your lungs and goes down through your abdomen, through your pelvis, your legs, all the way to the tips of your toes. So by the time you’re done taking in that breath, it’s the air is filling the entire inside of your body and not just invisibly, but let it change the body.  As the air enters a part of the body, something that is visible. And then when you then breathe out slowly, and as the air leaves each part of the body, let that change go away until you’re back to where you were when you started then trying repeatedly to repeat that process slowly and then more quickly. And then just with a single breath, you breathe in, create the image of the air going everywhere in the body, all at once in, in the second, it takes you to take in a breath and filling the body and supporting it, holding it there. So your body is not just there. Loose as Mr. Marceau would say, but that you’re, you’re holding it up. Not, not necessarily physically up. It can be in the same position you were in, but it’s not just hanging there. You’re holding it there and using that image of breath inside the body to hold your body.  And then of course, we translate that into movement where using the breath to support each movement Marceau would compare that to, to music, the way that music sustains. A note, a when, when you play a note on a wind instrument, the note only exists as long as the breath supports it, or when you sing a note vocally as the moment the breath has gone, the note dies movement can be very much the same way when it’s supported by suspension, by the image that there’s breath inside the body, throughout the movement. It gives visual life to that movement in a way that makes, that takes it to a new place. 

Thank you.  That is exquisite. That was a perfect rundown without saying too much. 

One of my favorite things to do was to suspend with different qualities of breath, or in other words, the visual quality that I give to the breath that’s entering my body, depending on the character that I’m portraying might be, um, a pale blue kind of like the sky type of breath, or it might be molten hot magma, or it might be like the galaxy dark, dark blacks, and bright, bright whites and stars and swirls and colors and stuff. So, so the visual qualities that I give the breath that I take in also changes the way I’m held instead of hanging. I love that differentiation. Um, so there’s a lot of different ways that I’ve used suspension, not only in performance itself, but in the way that I train people to become aware of their breath and train people, to become aware of the quality of the carriage of their body. It’s a very fun thing to imagine and a super fun thing to practice. And I love practicing it. I love, uh, I love being able to practice this at all times. You really truly can practice it driving. I just didn’t want you to hear about it for the first time while you’re driving. Cause it does take some focus, but I remember learning a suspension for the very first time and practicing it while I was in the car being at stoplights. And I would look to see if the person next to me was noticing me, and if they weren’t, I would suspend and just count the seconds before they looked it, it is in re relationship in relationship to stage presence. It is an incredible way to get people, to look at you by being interested in your own breath, how you know, it, it makes you an attractive being to be inspired, I guess. Um, maybe we could close out with just a couple of words on, on inspiration. Um, what inspires you? What,  

Wow. Um, I’ve always been inspired by movement. I’m not sure I can even tell you why it’s something that just feels right. I think always wanting to be an actor and having this feeling for movement when I found mime and could combine the two, I guess that’s when I realized that was my thing.  

That is a beautiful answer. And I’m so glad that you love movement because I guess because of that, here we are a mime and a dancer, having a conversation talking, uh, for hours. I cannot thank you enough for sharing Lorin, your, your, your insights and the wealth of information that you hold are truly priceless. So thank you so much for being here.  

Oh, well, you’re very welcome. And thank you for inviting me on the podcast. I’m glad to be a part of it. And of course, I always love having your conversation with you. My pleasure,  

My pleasure, and likewise. Okay, everybody. Um, we’re gonna, we’re gonna sign off and see you all later, Lorin. Thanks again.  

Bye.  

I’m waving. Like nobody can see that, 

Thought you were done? No. Now I’m here to remind you that all of the important people, places and things mentioned in this episode can be found on my website though. theDanawilson.com/podcast Finally, and most importantly, now you have a way to become a words that member, so kickball change over to patreon.com/WTMMpodcast to learn more and join. All right, everybody. Now I’m really done. Thanks so much for listening. I’ll talk to you soon.