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PROCLAMATION OF PRAISE OF GOD AND DISMISSAL After the absolution, the priest continues: Give thanks to the Lord, for he is good. The penitent concludes: His mercy endures for ever. Then the priest dismisses the penitent who has been reconciled, saying: The Lord has freed you from your sins. Or: May the Passion of our Lord Jesus Christ, the intercession of the Blessed Virgin Mary, and of all the saints, whatever good you do and suffering you endure, heal your sins, help you to grow in holiness, and reward you with eternal life.

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Or: The Lord has freed you from sin. May he bring you safely to his kingdom in heaven. Glory to him for ever. Or: Blessed are those whose sins have been forgiven, whose evil deeds have been forgotten. Rejoice in the Lord, and go in peace. Or: Go in peace, and proclaim to the world the wonderful works of God who has brought you salvation.

Close The 2006 edition of the London International Mime Festival has got off to an asuspicious start with the latest work from Toulouse-based Compagnie 111. More or Less Infinity is just the sort of playful, stimulating and wordless visual theatre that the festival has been championing for close to three decades. Watching it is like having your eyes and brain tickled for 70 minutes. The production is the third part of a trilogy exploring interactions between people, objects and movement in one, two and three dimensional space. The two previous pieces concentrated on the cube and the plane.

The focus of Infinity is the line in all its variety – straight, curved, actual, virtual and human. Steered by the American director Phil Soltanoff, the show is episodic, witty and often mesmerising. Near the start several neat rows of white rods descend slowly, like icicles, from above the stage.

These free-floating wands assemble into various configurations – a giant X, a gaping maw. When a low, stark light passes before them they suggest a forest casting shadows behind itself. It is not long before people, or selective parts of them, begin to appear. Armes sprout from discreet grooves in the floor; they are another kind of line, as are the fingers of each hand.

The tone waxes comic and a tad bizarre. A lone male head connects with a body bent over ostrich-like into the floor. Another man rests his head upon an arm that scampers behind him down to his ankles, scratching as it goes. Such sight gags give way to new, athletic forms of pole dancing, suggesting both diversion and aggression.

Clad in business suits, the six performers carry and walk about upon bendy, rubber-tipped poles like office workers testing unknown skills. The lone woman turns the tables on the tentacular poles that threaten her.

One man spins on a U-shaped while another wields one like a huge, hard yet undulant spaghetti noodle. The show thrives on crack timing and the element of surprise. Long poles suddenly swing down like pendulums in a perfectly calibrated, canonic style. A clever shadow dance segues into slow-motion pole vaulting.

Towards the end one actor hauls away the enlarged video image of his face, and a glow-in-the-dark string figure is unravelled like a mummy. The performance stays on the surface, but the play of ideas – about socialisation, perception and identity fragmentation in the digital age – makes for some dazzling fun. Donald Hutera.

Close This delightful show from Compagnie 111 and Phil Soltanoff, which kicks off the annual London International Mime Festival, brings a whole new meaning to pole dancing. It is the third in Compagnie 111’s trilogy of pieces exploring spatial concepts and, after the cube and the plane, the line takes centre stage.

The French company, directed by Soltanoff, opens the show with a lone trombonist, whose music appears to summon a line that creeps along the back wall. From then on, the performers share the stage with various lines, rods and poles, playing with them, fighting with them, aided by them, burdened by them. High quality global journalism requires investment. Please share this article with others using the link below, do not cut & paste the article.

See our and for more detail. Email to buy additional rights. As the title suggests, the show uses the potential of the straight line to create images that touch on the way humans grapple with the concept of infinity – at one point all six performers appear to drag endless lines behind them – but more often it simply plays with sticks. And that is the appeal: it is endlessly, wittily ingenious but at its heart is a simple activity that has amused mankind since time began. So the performers experiment with the poles that come their way, spinning on them, bouncing on them, tottering about by using them as stilts.