The Little Tramp’s movements always become somewhat of a dance, no matter what the occasion. The more erratic the trajectory, the more precise and regular the mechanics. As in pantomime, the body in movement becomes a form of expression. Running as if in a chase or timid twirls, a drunken gait, or play-boxing, from his relationship with authority to amorous advances, from the effects of alcohol to fear, the Little Tramp’s body in movement expresses the full gamut of feelings, until it finally becomes “autonomous in its abstract form”.

Sam Stourdzé