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| Foreword | |
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| Preface | |
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| Acknowledgments | |
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| Introduction: Goals and Objectives for Learning to Move Expressively | |
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| Physical and Expressive Exercises | |
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| Definitions of Stage and Screen Movement, Mime, Pantomime, Corporeal Mime, Stage Combat, Physical Theatre, and Physical Improvisation | |
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| Conducting a Class and Practicing on One's Own | |
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| Basic Physical and Expressive Exercises | |
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| Utilizing Movement to Create a Visual Image | |
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| Subjects for Improvisation, Pantomimes, Nonverbal Acting, Physicalizing the Word, and Mime and Text | |
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| Improvisation | |
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| Pantomimes and Scenes for Nonverbal Acting | |
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| Physicalizing the Word, Mime and Text | |
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| Interviews and Essays | |
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| A Conversation with Bill Irwin on Mime and Acting | |
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| Interview with Bernie Sch�rch and Floriana Frassetto of the Swiss Mummenschanz Company | |
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| Interview with Geoff Hoyle on the Mime-Clown-Actor's Art | |
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| Etienne Decroux and the Contemporary Theatre: Decroux Corporeal Mime | |
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| Interview with Joanna Sherman and Michael McGuigan on the Bond Street Theatre | |
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| On Movement Training for the Actor | |
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| Dance and the Female Body | |
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| Interview with Liebe Wetzel on Movement in Puppetry | |
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| Images and Body Expression in Film; Gift of the Gods | |
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| Theatrical Dance | |
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| The Clown Conservatory Teaching of Professional Clowns in the Twenty-first Century | |
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| Movement for Puppeteers | |
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| Too Much Geniality: Notes and Quotes on a Reappraisal: Stage Versus Screen Acting | |
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| The Body of Theater | |
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| How Charlie Chaplin Spun Stagecraft into Cinematic Gold | |
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| Epilogue | |
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| Appendixes | |
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| Creating a Movement Training Program: Ten Sample Lessons | |
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| Resources for Mime Plays, Pantomimes, Themes for Improvisation, and Scenes with and without Words | |
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| Constructing a Mime Piece or Mimodrama | |
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| Schools and Movement Training Centers | |
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| Publications, Organizations, Festivals, and Resource Centers | |
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| Selected Videography and DVDs | |
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| Selected Bibliography | |
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| Index | |
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| About the Author | |