In 1937, with a stylized interpretation of L'amour
médecin, in which mimicry played a considerable part,
Dorcy literally roused to enthusiasm one of the most
difficult of all audiences to stir, or at least one of the
most rarely assembled: the participants in the Inter-
national Congress of Psychology.

Then there were the unforgettable and astonishing
Mime performances at the Maison de la Chimie, Dorcy
providing both introduction and commentary: De-
croux and Barrault made us feel that we were wit-
nessing the birth of a new art, and not simply of a re-
vived form. And Dorcy's lectures on the esthetics of
the Dance always draw a full house.

In short, Dorcy's three loves, collective recitation
of poetry, art of the mime, style of the dance -- three
forms of expression between which he seems to seek
relationships and unity -- have found a favorable re-
sponse in rather a wide public. But even though at
times Dorcy has been followed, imitated and "used,"
he has never been in a position to give his pursuit the
required scope and continuity. He has neither a
theater, a troupe nor a school at his disposal. He has
not received proper co-operation. And this is to be
regretted.

Jean Hytier
Professor at Columbia University

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