Mimesis

Imitation, representation and expression. Like the development of children in their toddler years, trying to imitate those older than they are, mimesis is a source of learning for most. Mimesis is not a new concept. Chimpanzee’s in Africa were using mimesis as a cultural distinction way before humans came around, yet exploration of the idea of mimesis, especially in regards to art, was first consciously developed in pre-Platonic times and enhanced through the ideas of Plato and Aristotle. Throughout discourse, difference scholars have come to offer up their own definitions of mimesis through art, with Aeschylus’s work relating it as representation through dance (which can be supported by the Educational Theatre departments production of “The Eumenides” by Aeschylus with a heavy emphasis on movement as symbolism, representation and story-telling). Gebauer and Wulf then delve into a history of the art of mime, although with a seemingly bias viewpoint. In a modern world, a progressive reader might have difficulty with the concept of mimesis, socially, for it is completely dependent on “the stereotype.” Mimesis is effective when the “relations of similarity he establishes” are correct: “the character traits represented in the coward must correspond to the qualities typical of a coward” (Ferrara, 29). While representation in art can be personalized, mimesis depends on the “universal phenomena” of that being imitated. Plato also uses mimesis as the emulation an object, presupposed that the object is “worth being imitated” (Ferrara 32). This brings up another issues in the modern world, who decides what is worthy? Plato’s views then shift to mimesis and its relation to the goal of society. Realizing the huge effect mimesis has as an education tool, Plato suggests young people should be shielded from unfavorable models, allowing them to access full potential and fulfill their duties to the state. If poetry depicts anything deemed negative or untrue, especially concerning the depiction of Gods as weak, then it will not be allowed. Yet representation of the seemingly “false” would just be fiction, so I suppose Plato was not fond of that genre. If transgression against truth in representation was still frowned upon, acting as an art would not exist, for it is the representation of something else, and in itself, false, for mimesis can never be exact. The power of mimesis can be “seductive” but if used in a positive and enhancing way, can be very effective.

I thought this article was interesting at some points but was very tedious and repetitive until it got into how it actually applies to art. In regards to mimesis through gesture and dance I relate very well to that. I think that is why physical theatre is so compelling and powerful. The body can be a representation of just about anything. Combining forms and employing space, one or a group of people can create constantly living, moving, changing visual representations. Through movement and gesture (Chekhov would argue especially for psychological gesture), there is mimesis with an added metaphorical layer that allows the viewer personal interpretation. And the ability for personal interpretation is the attraction of art.
I was also attracted to the part about mime and how “the mime” depicted human life “as it is.” While it was a historical depiction of the art of mime, I still feel as if it lacked enough background and depth to fully brush upon the art of mime. While still today in many people’s minds, a mime show is not held with “much social prestige nor was the mime highly valued,” but there have been very great achievements and advancements in the art as a modern, respectable art form. In terms of mimesis, mimes were disregarded because of the idea of “fooling someone,” yet that is the whole concept of mimesis. It is an imitation. And if mimes are looked down upon because of their extraordinary ability to re-create in physical form, all of mimesis in art should be shunned. But then again, I’m just bitter at society’s depiction and understanding of the craft.