Irene Mawer: Mime and Movement
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For some time, I have been struggling with how to tell you what Miss Mawer’s mime technique was like. I have been looking for ways to describe it in words. I still haven’t found my answer, but I think the following critical review of one of her performances might go
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Unless otherwise stated, the quotes in this blog post are from an article written by Irene Mawer in The Link, which contained the newsletter of the Ginner-Mawer School of Mime and Movement, Miss Mawer wrote an article about a group of French theatre people called the Cercle Funambulesque (1). From
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Central School in 1930s. Irene Mawer trained under Elsie Fogerty at the Central School of Speech and Drama in 1914/15/16. Mawer had done some training and had taken paid employment before enrolling at Central, so she was already 21 years of age when she started there. Fogie discovered that Mawer
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Connecting Rose Bruford and Irene Mawer In this blog post, I will explain how Rose Bruford and Irene Mawer are strongly connected through the art of mime. Bruford was a pupil of Mawer, and was strongly influenced by her, but was also open to other styles of mime, such as
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“…reeds don’t sway from side to side…” The five year old boy earnestly criticised his teacher, Dorothy Reavely, as she struggled to find her teaching feet in 1920s France. As a graduate of Ginner-Mawer, she had a good, solid training on which to
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