Vahram Zaryan If it is so, is our perseption on mime lost?
Nowadays contemporary pantomime is no longer the one we used to know.
The existence of <non-pantomime> is resumed in the perseption of the main essence of pantomime, its source and evolvement, in rising questions upon them.
Such evolvements have occurred in other fields, as well, radically going further form the traditional ones.
No longer concentrating on only the aestetique and visual material of the body, it is attemped to get rid of it, working on the meaning and depth, in which case the very aestetique and visual perception to body is back in another form.‘Body is not the only tool’
This situation is persived more profoundly and vividly, as it includes not only the questions of time and essence unpersivable with the naked eye.
Nevertheless, body does not oppose the soul. Body is not considered as a tool to serve the soul. It is no longer a fortress of the primary aim to connect it to the environment.
Nowadays a contemporary artist should no longer be persived as a lonely <wall> opposing the world with its closed and nice performance.
<Non-mime> is an existence in space
Pantomime performance is no longer a platform to show dynamique actions, where the impressive body images and dynamiques are over-valuated.
Firstly, mime is a means to create and display the emotional disagreements between the artist and the society.
<Non-mime> movement is no longer expected, and allows to persive the meaningful action born in a certain area chosen by the artist, let it be stage, square or street.
Pantomime is an evolving art necessary in our noisy and <talkative> lifestyle.
