Part1: Introduction
1. Editors’ introduction
2. Edward Gordon Craig: ‘At Last a Creator in the Theatre from the Theatre’
3. Eugenio Barba: ‘The Hidden Master’ Part2: Words of Decroux A: Revolt
4. ‘Corporeal Mime and Pantomime’
5. ‘The Method’
6. ‘From the personality…’
7. 'The autobiography’
8. ‘Bodily Presence’ B: A New School
9. ‘Creating a Mime Play’
10. An Imaginary Interview (a) ‘On the Origins of Mime and the Development of a Worldview’ a1. The Origin of Mime a2. Theatre and Commerce a3. Copeau, Dullin, Jouvet, Artaud a4. Mime and Politics a5. Mime: An Art for our time and the future? (b) ‘On the Definition of Mime’ b1. Mime as the Essence of Theatre b2. What is the Nature of Mime? b3. Mime and Dance b4. Mime and Objects b5. The Key Principles of Technique b6. The Importance of the Mask b7. Mime and Music b8. The Seahorse C: From Words on Mime
11. Sources
11.1. …originates in the Vieux-Colombier
11.2. Gordon Craig
11.3. Autobiography relative to the genesis of corporeal mime
11.4. Doctrinal Manifesto
12. Theatre and Mime
12.1. My Definition of Theatre
12.2. Before Being Complete, Art Must Be.