Teaching Practice of Mime

Danse moderne - Chorégraphie

The International School of Corporeal Mime presents the description of the certification for “pedagogical practice of mime.”

Presentation of the objectives and exercise context of the Mime Pedagogical Practice.

Pedagogical certification

Presentation of objectives and exercise context of the Pedagogical Practice of Mime.

  • Now recognized by the Ministry of Culture as a performing art, the art of mime needs a framework like any other discipline. The increasing visibility of professional careers and the quest to ensure their integration emphasizes the need for pedagogical quality and certification of the art of mime in general and specifically in its transmission. Thus, the certification of the pedagogical practice of the art of mime constitutes an important step today, making it possible to demonstrate mastery of an art (French intangible heritage) and to guarantee its sustainability while securing the specific artistic paths of artists. This is at the heart of our concerns.
  • La pratique pédagogique du Mime a comme objectif la transmission d’un art scénique reconnu et répertorié. La pratique pédagogique du mime ne pourrait pas se faire sans mettre l’accent, sur comment on apprend aux autres, c’est à dire la maîtrise de sa propre pratique personnelle (hiérarchiser ses connaissances, mettre en œuvre les exercices les plus appropriés selon les processus d’apprentissage, déterminer la meilleure chronologie de cet enseignement) pour suivre la progression de son élève jusqu’à ce que nous puissions certifier les compétences acquises de l’élève. Afin de préparer physiquement et techniquement ses élèves en vue de les rendre artistiquement autonome.
  • The pedagogical practice of Mime aims at transmitting a recognized and categorized performing art. Pedagogical practice of Mime cannot be done without emphasizing on how to teach others, i.e. mastering one’s own personal practice (hierarchizing one’s knowledge, implementing the most appropriate exercises according to the learning process, determining the best chronology for teaching) to follow the progress of the student until we can certify their acquired skills. This is done in order to physically and technically prepare students to make them artistically autonomous.
  • Through its pedagogical practice, the art of Mime makes its bodily and theatrical knowledge available to train and enrich participants in the project, thereby contributing to its successful outcome.

Criteria and qualities required for the pedagogical practice of Mime

  • Certificate of the artistic practice of mime
  • A medical certificate of aptitude for physical practice
  • Proven skills in the pedagogical practice of mime

Skill 1

  • Creating a pedagogical tool (Developing a pedagogical tool that takes into account the students’ reality and the specificity of the art of mime)
  • The instructor possesses a clear and accessible pedagogy that adapts to the targeted audience. They are able to construct and lead a collective learning situation, conducting progressive learning sequences in both technical and artistic dimensions in order to bring the student to creation.

Skill 2 

  • The pedagogical practice of Mime also aims to help the student in the conception and creation of an artistic number. Therefore, the trainer must be able to use the specificities of Mime art to guide the student in this creative process, using learned techniques and emphasizing body and emotional expression. The trainer must thus help the student to develop their own artistic identity and to present a professional quality number.
  • The future instructor supports their student in implementing an artistic project specific to each student by proposing avenues for research.

Skill 3 

  • Encourage the evaluation of learning outcomes (Develop an assessment framework to confirm that educational objectives have been achieved)
  • The trainer is able to assess the students in order to guide them towards professional integration in the field.

The evaluation methods common to all the identified competencies are:

The evaluation methods common to all the identified competencies are:

  • Performance in front of the jury - technical repertoire
  • Performance in front of the jury - artistic repertoire
  • Performance in front of the jury - training sequence/presentation of evaluation device
  • Presentation - questions/answers with the jury
Photo Yvan Teulé
Photo Yvan Teulé
Photo Yvan Teulé
Photo Yvan Teulé
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