Corporeal mime and the work of Etienne Decroux are well known in the world of physical theatre, remaining inspirational to those who have studied and explored this complex art form. In the following article Nicola Baylis examines the prevailing misunderstandings that surround corporeal mime, briefly addressing its historical context, and moving on to discuss contemporary applications of Decroux's training system. With the increasing advent of innovative theatre produced by a new wave of actors trained in corporeal mime, she focuses on the current work of artists in Naples, and concludes with reflections on corporeal mime's relevance to present-day experimental performance and on the potential future role of the form within modern theatre. Nicola Baylis is an actor, director, and teacher who has trained in corporeal mime and commedia dell'arte. Before moving to Naples, she worked as a Lecturer in Drama on degree programmes at Bournemouth and Poole College, in conjunction with Bournemouth University. She is currently working on an adaptation of Macbeth which will be performed in London in the autumn.