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In biology, we know that a mimic is any
living species that has evolved to resemble another successful species. But in
Animation, to mimic or Mimicry is the process of observing and replicating
another’s behavior, also called imitation in entertainment.

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Mimic is defined as a performer who imitates a person for amusing or satirical

Of Mimicry 


The movements of the head are
of vital importance in mimicry. For example,

A drooping head indicates shame and grief.

Nodding the head vertically denotes approval.

Shaking the head sideways signifies dissent.  

The forehead
gives the best indication of one’s intelligence and intellectual development. In
the forehead the most active and independent muscles are located, controlling
attention, doubt, reflection, pain, etc.


The eyes are capable of expressing nearly all the states of mind
and of human passion. They seem to be the most expressive of all the parts of
the body. This body part can express both noble sentiments and high spirits as
well as hate, jealousy, and other negative feelings. They are called the
mirrors of the soul since they can communicate a wide range of emotions and
mental states.


The nose has a great importance in mimicry, as it is a major
element of aesthetics. In spite of the fact that it is one of the least movable
parts of the face, it helps a lot in expressing various feelings, especially
those in which, the respiratory system is involved, like when depicting anger
or agitation, or fear. The act of breathing and the expansion of the nostrils
are linked. In fear or anger, when the breathing is affected, the nostrils
become dilated or constricted. It also helps in depicting the expressions of pride,
haughtiness and arrogance. In these expressions the nose is active.


The mouth is one of the most expressive parts of the face. The
mouth has various muscles used for chewing, for speech and song and is very
powerful in expression (especially the corners of the mouth that are raised
upwards in expressions of high spirits and fall in expressions of low spirits).

For example,

In joy, satisfaction, contentment, and other such positive
emotions, the corners of the mouth curl upwards, thus producing a smile.

In sorrow, disappointment, moral pain, fear, etc., they turn down.


The ear is of great importance in the analysis of a character, in
theatrical mimicry it is of little service to the actor. It is one of the least
expressive parts of the body, rarely movable. Therefore, all the actor should
know about the ears is in the part of make-up.


shoulder, the forearm, and the hand, with its fingers, are the contributors to
hand gestures. Hand gestures should never be stiff or artificial, nor try to
express that which belongs purely to facial mimicry. For example,


A disappointment at a bit of news, causes the arms to drop

In anger, the closed fists are projected toward the sky or the
object of anger or hatred.


The trunk is of importance in the expression of many emotions. In
fear, it instinctively contracts, as it also does in admiration. In love, it
expands, as though inclining towards the object of love; in hate, it shrinks
back. The entire trunk movements have an influence upon the breathing organs,
resulting in accelerated breathing in moments of happiness and joy; irregular
breathing in hate and anger; and in near paralysis in moments of fear and
terror, etc.


It is not
advised to rest the body on both feet equally, for, besides creating
uncomfortable positions, the actor will find difficulty when it is necessary to
take a step forward, some-times to the extent of looking extremely ridiculous. If
the body is supported on one foot, he can readily place the other in position
when the action so requires. The feet are the principal factors in movements,
such as walking, dancing, etc.


walk should be according to the character represented and, therefore, should
have as much purpose as any other action. Although the walk should always be
natural, easy, never stiff, there are well-defined differences between the
walks to be used in comedy and in tragedy. In comedy, the walk is lively, the
steps are short, quick, swinging. In tragedy, the walk consists of
well-measured, sustained steps, heavy, long and mysterious.


Kneeling rapidly and at the same time on both feet is good only
for comic effect. To kneel with grace, it is necessary to take one step forward
and rest the body on the forward foot until the second knee touches the ground.
When picking up an object from the ground, act in the same way.


The manner of taking one’s seat has always been considered an
indication of good or bad breeding, even from ancient times. A well-educated
person will take his seat carefully, without crossing the feet.


People salute each other in different ways. A haughty man will
never bow first, and when answering he hardly touches his hat. A poor or modest
man bows low. A beggar takes off his hat, full of timidity, extending his hand
to receive the gift. 

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