The use of Scott McCloud's transitional theory in comic book analysis as a paradigm for creating an effective critical Mime theory

Concentrating on whiteface Mime in the tradition and style of Marcel Marceau, this dissertation utilizes Scott McCloud's transitional theory of comic books as explained in Understanding Comics as the basis for a new critical Mime theory of beats and transitions. Chapter One establishes the research foundation for this study and explains how the Mime beat is different from Stanislavski's beat. Mime beats discussed include moment beats, action beats, subject beats, scene beats, gutter transitions, and narrative transitions. This chapter also describes a Mime version of Charles S. Waxberg's beat rules from The Actor's Script that is used as an evaluative tool when applying McCloud's theory to Mime performances. Chapter Two documents a brief history of Mime and Mime theory. Chapter Three applies McCloud's Theory and Waxberg's evaluative rules to four of Marcel Marceau's videotaped performances: "Bip as a Skater," "The Maskmaker," "The Hands," and "Youth, Maturity, Old Age, and Death." Again using McCloud and Waxberg, Chapter Four evaluates two of Todd Farley and Mimeistry's videotaped performances, "Still Her Little Child" and "The Walls of Jericho." Chapter Five summarizes the findings of this dissertation and discusses its impact upon developing Mime material, establishing a new Mime vocabulary, assisting in Mime pedagogy, and noting potential benefits to Mime professionals and scholars. This chapter also indicates limitations of this study and discusses future research.