The Sorrowful Figures
The Sorrowful Figures are the poses that Marceau created with sorrow in mind.
The Sorrowful Figures are the poses that Marceau created with sorrow in mind.
The figures are blue, a common color that emphasizes self-righteousness, negativity, drama, and sorrow. These figures have different levels of sorrow, reflected here by their saturation. The more saturated the blue, the more intense the sorrowfulness present. Although these figures are ranked in this way, the least saturated blue does not lack emotional storytelling, it simply tells a different side of the emotion at a different level. Explore these human shapes with sorrow in mind.
GREED
GREED
The lightest and least intense representation of sorrow in The Sorrowful Figures. In human form, the figure's hands are in the same claw-shape as ENVY, although retreated inwards, recoiling back. This pose is a direct response to ENVY, the spiritual second step. It is paired with the idea "I want something, but I can't have something" and the self-destructive nature that breeds within oneself. It is a response to watching yourself do something horrible but not stopping. It is much less about ignorance and instead begins to leak into the realm of sorrow and disapproval. Often considered the most personal Convention of Character, GREED is a reflection of the self and the questionable actions it may commit.
The lightest and least intense representation of sorrow in The Sorrowful Figures. In human form, the figure's hands are in the same claw-shape as ENVY, although retreated inwards, recoiling back. This pose is a direct response to ENVY, the spiritual second step. It is paired with the idea "I want something, but I can't have something" and the self-destructive nature that breeds within oneself. It is a response to watching yourself do something horrible but not stopping. It is much less about ignorance and instead begins to leak into the realm of sorrow and disapproval. Often considered the most personal Convention of Character, GREED is a reflection of the self and the questionable actions it may commit.
MELANCHOLY
MELANCHOLY
In human form, this figure has open hands, resembling a limp limb falling, stuck in time. This pose is the closest to "nothing" one can get. It is empty, it is hollow, and it is all-encompassing. The head is tilted just below the horizon line, the opposite of DREAMING. Perhaps those dreams are never coming true. The hand lies below the chest, losing hope, losing happiness, falling into sadness, becoming comfortable in that sadness, and staying in that sadness. Who knows why? Often considered one of the most defeated Conventions of Character, MELANCHOLY is a beaten down remnant of a human.
In human form, this figure has open hands, resembling a limp limb falling, stuck in time. This pose is the closest to "nothing" one can get. It is empty, it is hollow, and it is all-encompassing. The head is tilted just below the horizon line, the opposite of DREAMING. Perhaps those dreams are never coming true. The hand lies below the chest, losing hope, losing happiness, falling into sadness, becoming comfortable in that sadness, and staying in that sadness. Who knows why? Often considered one of the most defeated Conventions of Character, MELANCHOLY is a beaten down remnant of a human.
FEAR
FEAR
In human form, the hands of this figure are open palms in front of the face, lifelines out towards what the pose is cowering from. The torso is pushed back so quickly the pelvis hasn't quite caught up yet. The pose is protecting itself, unaware of it's surroundings, only focused on hat may potentially hurt it. The pose is weak and unsteady, wobbling and shaking. What the fear stems from is up to the one recreating the pose, but it is designed to be something unbeatable, something oppressive, and something approaching quickly. Often considered the most cowardly of the Conventions of Character, FEAR is a battle you don't want to fight, a loss guarenteed.
In human form, the hands of this figure are open palms in front of the face, lifelines out towards what the pose is cowering from. The torso is pushed back so quickly the pelvis hasn't quite caught up yet. The pose is protecting itself, unaware of it's surroundings, only focused on hat may potentially hurt it. The pose is weak and unsteady, wobbling and shaking. What the fear stems from is up to the one recreating the pose, but it is designed to be something unbeatable, something oppressive, and something approaching quickly. Often considered the most cowardly of the Conventions of Character, FEAR is a battle you don't want to fight, a loss guarenteed.
DESPAIR and it's significance.
DESPAIR and it's significance.
Marcel Marceau had a very personal connection with despair, hence three separate poses highlighting it in three separate directions. It was such a powerful emotion it needed to be divided into three to convey it's complexities. The DESPAIR series isn't as flat as the other emotions represented in the Conventions of Character, it is the most hurtful, powerful, and moving emotion any human may have the displeasure of feeling. It is important to reflect on the different aspects of this feeling while viewing different directions of DESPAIR.
DESPAIR (SIDEWAYS)
DESPAIR (SIDEWAYS)
One of the three darkest and most intense representations of sorrow in The Sorrowful Figures. This figure is directionally pointed to the side. Heavily inspired by Christianity and Jesus' crucifixion, this pose is a reflection of being completely distraught, hands open and "nailed" to a cross, pelvis uncomfortably notched to the side. It is often paired with the idea of looking down at your own mother, watching her watch you die right in front of her. This is the most somber of the three figures that represent DESPAIR. It is quiet, it is powerful, and it has let down those around it. Often considered the most heartbreaking Convention of Character, DISPAIR (SIDEWAYS) is the loss of life and the grief it holds.
One of the three darkest and most intense representations of sorrow in The Sorrowful Figures. This figure is directionally pointed to the side. Heavily inspired by Christianity and Jesus' crucifixion, this pose is a reflection of being completely distraught, hands open and "nailed" to a cross, pelvis uncomfortably notched to the side. It is often paired with the idea of looking down at your own mother, watching her watch you die right in front of her. This is the most somber of the three figures that represent DESPAIR. It is quiet, it is powerful, and it has let down those around it. Often considered the most heartbreaking Convention of Character, DISPAIR (SIDEWAYS) is the loss of life and the grief it holds.
DESPAIR (FOREWARDS)
DESPAIR (FOREWARDS)
One of the three darkest and most intense representations of sorrow in The Sorrowful Figures. This figure is directionally pointed forewords and upwards. The arms accompany the head in shooting upwards, prepping for a secondary move. Usually, this pose has two parts, the second being a scrunching of the upper body into an elevated fetal position. In neither position is the face seen. This is the most destructive of the three figures that represent DESPAIR. It is loud, it is reckless, and it has lost faith in what it once believed. Often considered the most disastrous Convention of Character, DESPAIR (FOREWARDS) is a wild lashing out at the things around oneself.
One of the three darkest and most intense representations of sorrow in The Sorrowful Figures. This figure is directionally pointed forewords and upwards. The arms accompany the head in shooting upwards, prepping for a secondary move. Usually, this pose has two parts, the second being a scrunching of the upper body into an elevated fetal position. In neither position is the face seen. This is the most destructive of the three figures that represent DESPAIR. It is loud, it is reckless, and it has lost faith in what it once believed. Often considered the most disastrous Convention of Character, DESPAIR (FOREWARDS) is a wild lashing out at the things around oneself.
DESPAIR (BACKWARDS)
DESPAIR (BACKWARDS)
One of the three darkest and most intense representations of sorrow in The Sorrowful Figures. This figure is directionally pointed backwards. Heavily inspired by the Jewish faith, this pose converses with and argues against a higher power, a commonly accepted practice for Jewish people. It is often paired with the idea of yelling at your creator, furious that they didn't hold up their end of the deal. The intention of this pose is mobile, walking forewords in this position, torso as parallel to the ground as possible. Usually, this figure has two parts as well, ending in the same elevated fetal position as DESPAIR (FOREWORDS). This is the most personally taxing of the three figures that represent DESPAIR. It is confused, defeated, helpless, and without a purpose. Often considered the most difficult pose to properly recreate of the Conventions of Character, DESPAIR (BACKWARDS) is a pain no human should ever experience.
One of the three darkest and most intense representations of sorrow in The Sorrowful Figures. This figure is directionally pointed backwards. Heavily inspired by the Jewish faith, this pose converses with and argues against a higher power, a commonly accepted practice for Jewish people. It is often paired with the idea of yelling at your creator, furious that they didn't hold up their end of the deal. The intention of this pose is mobile, walking forewords in this position, torso as parallel to the ground as possible. Usually, this figure has two parts as well, ending in the same elevated fetal position as DESPAIR (FOREWORDS). This is the most personally taxing of the three figures that represent DESPAIR. It is confused, defeated, helpless, and without a purpose. Often considered the most difficult pose to properly recreate of the Conventions of Character, DESPAIR (BACKWARDS) is a pain no human should ever experience.