默劇只用身體訴說故事；沒有任何裝置可讓演出增強，也沒有可以撥很大聲的擴音器；他必須在有限的肢體動作裡，事先規劃好肢體的想像。有幾個事項是默劇必須要做的，而且一定要將想像非常清楚地呈現給觀眾。
第一。誇大所有的動作。
不論是手勢、移動或身體的反應，必須將生活裡的動作放大好幾倍。但是這些放大後的反應，絕不是只有外在表面的展演而已。就像是在所有的演出中，動作背後的動機必須是建立在真實情緒上的；所以演員是反映出自身的真實情緒經驗後，將其套用到角色的身上，默劇就是建構在這種真實的基礎上， 然後將其擴大。他不只是“描繪”一種情緒，更不只是在空氣中描繪出外型而已；他必須真的經驗過這些情緒，然後才能將其誇大。反之，是無法說服觀眾的，如果演出無法讓觀眾相信，那觀眾的思緒很快就會從表演中飛走了。
第二。默劇演員必須要在做下一個動作之前完成上一個動作，必須要將每一個動作分開，而且要分清楚。
舉例來說：文字敘述是 — 「他從口袋裡拿出一串鑰匙，開門。」
然而默劇演員在排練時，卻是要將以上的動作分解，每一個動作都要乾淨俐落，所以會是“舉起手臂”“停”“轉動手腕將手置於口袋旁”“停”“將手放入口袋中”“停”“在口袋中抓住鑰匙”“停”“拿出鑰匙”“停”“將鑰匙移到鑰匙孔前”“停”“將鑰匙插入鑰匙孔”“停”“轉動鑰匙”“停”“拔出鑰匙”“停”“將鑰匙移到口袋前”“停”“將鑰匙放在口袋中”“停”“將手從口袋抽出”“停”“將手移至門把前”“停”“轉動門把”“停”“推開門”……以此類推。
各位可以看得出來，若是一句話用文字說明時，我們可以了解意思，很快就可以執行，但是在默劇來說，是要用肢體的動作細膩的呈現語言所隱含的意義時，就必須要有分解細膩動作的運練與能力，否則到了舞台上，不但觀眾無法明瞭演出內容，就連演員本身也會開始呈現動作不連貫或是動作與意涵模糊的狀態，那麼演出就失敗了。默劇演員就是用這種方式練習肢體：肢體務求清晰、乾淨、無瑣碎的、蘊含強大內在能量的，而且關節運動的角度必須明確。演出時，為了使一個角度成立，他會將動作做得平滑些，所以當他停止動作的時候，讓那個角度看起來不太明顯，但其實是一直存在的，只是運用了許多細膩的肌肉牽動，讓許多關節移動或轉動時的角度看起來不再生硬。
第三。默劇也許會讓每一個動作看起來都很戲謔（滑稽）
當默劇要做向下的手勢時，會先將手臂放在反方向的地方，然後再用很大的動作只向下方，因為這樣觀眾就很容易看得清楚你指的方向，但就在接近要指的方向時，突然有了一個收手的動作，然後再突然往所指的方向指去。因為要戲謔（滑稽），所以會讓動作變的誇大，因此與觀眾有了更深的溝通。
也因此讓肢體有了更多的流暢感與更優雅的手勢動作，讓觀眾也能欣賞肢體的美；當然我們最主要還是要回到與觀眾溝通這件事情上面，但我們不會忘了肢體仍是要優美這件事的。
關於誇大、分開以及嘲弄就像是一種能夠讓觀眾更能看清楚於觀眾席之外所發生的事。主要的目的是：被看見。除此之外，若演出的結果產生了優雅或是美麗的感覺的話，我們也許可以將它看成是一種額外的收穫。
Projecting the Physical
Image The mime has only his body to tell his story; he has no amplification, no loud. speakers; he must project the image with only his physical being. There are several things a mime does to make this image clearer to his spectators. First, he magnifies all his actions: his gestures, movements, physical reactions, must be just a bit larger than life size. But these larger reactions cannot just be imposed from the outside. As in all acting, the motivations behind the actions must be justified emotionally; then, after really feeling, really experiencing the reactions of the character he is portraying, the mime builds on this base of reality, and magnifies. He doesn’t “portray" an emotion—he doesn’t define it in the air; he experiences the emotion, and magnifies the result. Otherwise the audience won’t believe him, and if they don’t believe him, they won’t care. Second, he must complete each gesture before beginning the next one. He must separate his actions, in fact, each part of each action. In rehearsal he would, for instance, first raise his arm, then stop, lower his hand to his pocket, stop, put his hand in his pocket, stop, take out a key, stop, bring the key to the keyhole, stop, insert the key in the lock, stop, turn it, stop, open the door, stop, and so on. He practices his actions this way, with sharp clear movements, strong impulses, and square corners. In performance, he rounds out the corners, smoothes out the actions so that the stops are not really noticeable, but they are, in some subtle way, still there. A third thing the mime may do is to wind up for each action. That is, before making a downward gesture, he would first move his arm in the opposite direction a bit, thereby making the downward gesture bigger, and more easily seen. Before reaching forward, he would bring his arm back a bit, then forward. Winding up makes for bigger movement, and thereby greater communication, and it also provides a more flowing, more graceful gesture, which is more beautiful to watch; and while our main concern is communication, we do not dismiss beauty. The effect of magnification, separation, and winding up is a kind of stylization that enables people in the back of an auditorium to see more clearly what is happening on the stage. That is its primary purpose: to be seen. If the resulting movement is graceful or beautiful, we may consider it a bonus.
Julien's Art Works 