ABSTRACT
Contemporary pantomime also works with the two basic methods in the process of creation. Everything in the art of stage is ultimately divided into events, which are the kernels of episodes' organisation. Thus working on the original pantomime etude becomes key to the creation of the future performance. Escorial's treatise 'The code of jesters', the acting notes from the Italian Commedia dell' Arte, and subsequent theoretical treatises by Carlo Gozzi, Carlo Goldoni, and Denis Diderot are the first attempts to pay sufficient attention to the art of pantomime as an inseparable part of the mastery of the dramatic actor. Dramatic pantomime makes extensive use of Stanislavsky's system. The principles of group pantomime are rooted in techniques of dialogue in action and the juxtaposition of characters. Jean-Gaspard Deburau discoveries in the practice, theory, and training of the art of pantomime became fundamental in the system developed by Decroux and Barrault, a system that was pedagogical as much as it was aesthetic.
