Relevant bibliographies by topics / Pantomime Theater Theater

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Pantomime Theater Theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Pantomime Theater Theater.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Pantomime Theater Theater"

1

Slater, W. J. "Pantomime Riots." Classical Antiquity 13, no. 1 (April 1, 1994): 120–44. http://dx.doi.org/10.2307/25011007.

Full text
Abstract:
It is argued that there is no simple or single reason for the riots caused by pantomimes in early imperial Rome, and especially in 14 and 15 A.D. Theatrical passion has been suggested as the main cause, but other factors must be considered: the meaning of the theater as a symbol of order, the peculiar importance of the equestrian order in the architecture of the theater; the position of the main Roman theaters in their relation to the exercise grounds of the iuvenes; the complex relationships of the equestrian iuvenes with the pantomime artists. It is pointed out that it is not always easy to define a pantomime, or to know the nature of the program; but competition was certainly involved. It is argued that the policies of Tiberius toward the theater and the iuvenes were particularly productive of discontent, which led to repeated legislation to control it. The role of Drusus is probably crucial. A central role is also played by the theater claques, and the acclamations of the equestrians, the theater being their principal venue. Various connections between the equestrian iuvenes and the theater are considered. One key is the physical training of Roman youth, which had become affected by Greek concepts of gymnasium dancing, perhaps under the influence of rhetoric. This in turn made it possible for young Romans to develop quasi-pantomime skills, which they could demonstrate in their iuvenalia. Second, it is suggested that the Baths of Agrippa and their decoration can be seen as an indication of such a change in official policy, and their position next to the theaters is stressed. Third, the personal relations between pantomimes and the nobility is documented, and the importance of the private stage in Rome. Finally, the legislation of the Tabula Larinas is considered, as it affected nobles on the stage or in the arena, and other legal implications of this conflict between the senate and the youth are sketched.
APA, Harvard, Vancouver, ISO, and other styles
2

Svarnyk, Bohdan. "Ukrainian pantomime theater through the prism of the synergetic paradigm." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 100–104. http://dx.doi.org/10.32461/2226-3209.2.2021.239973.

Full text
Abstract:
The purpose of the article is to determine the priority forms of development, conceptual and organizational principles of the existence of domestic pantomime theaters in the conditions of modern socio-cultural space. Methodology. The cultural-historical method was used (to consider the general state of the domestic pantomime culture of the end of the XX – the beginning of the XXI century); synergetic method, thanks to which the historical paradigm of pantomime theater in Ukraine was studied; an art history method that contributed to the analysis of pantomime theater performances in an artistic context and a method of theoretical generalization. Scientific novelty. The specifics of Ukrainian pantomime theaters and their role in the socio-cultural space of the XXI century are studied; identified and analyzed the factors influencing the specifics of the development of Ukrainian pantomime theaters in the context of the transformation processes of the world and domestic socio-cultural space; trends and prospects for the development of the phenomenon of Ukrainian pantomime theater in the XXI century are indicated. Conclusions. The Ukrainian pantomime theater demonstrates unique forms of existence of the cultural text and uses a wide palette of sign-symbolic embodiments of pantomime culture. As a component of modern domestic cultural and artistic space, the Ukrainian pantomime theater is characterized by a wide representation, complex history of development and achievements, and is a significant platform for the translation of traditional socio-cultural values and norms, effective development of various elements of modern culture. At the present stage, the Ukrainian pantomime theater is a broadly chaotic system of contrasting phenomena, which, in turn, are internally ordered structures - schools, each of which declares its own conditions, becoming an independent, self-sufficient system.
APA, Harvard, Vancouver, ISO, and other styles
3

Sick, David H. "Ummidia Quadratilla: Cagey Businesswoman or Lazy Pantomime Watcher?" Classical Antiquity 18, no. 2 (October 1, 1999): 330–48. http://dx.doi.org/10.2307/25011104.

Full text
Abstract:
In letter 7.24 Pliny provides his readers with a character sketch of the elderly matriarch of a distinguished and wealthy Italian family-Ummidia Quadratilla. Ummidia passed her later years as a fan of the theater; specifically, "she had pantomimes." Pliny disapproves of the shows presented by these performers, and he chastises Ummidia for her interest in pantomime. In fact he views her conduct as symptomatic of a vice among women in general: "I have heard that she herself used to relax her mind with checkers or watch her pantomimes, as women do in the idleness of their sex." We should not be surprised by these comments; there was a tradition of ambivalence among the Romans toward the professions of the theater, and when women became involved with these professions, the ambivalence could turn to contempt. Given the general disposition of Roman males toward pantomime and women, modern readers should not so readily accept Pliny's assessment. By training her slaves as pantomimes, Ummidia was greatly increasing their value. From numerous ancient sources we know that the monetary value of slaves trained in the theatrical professions was among the highest accorded any slave. Moreover, because of Ummidia's endowment of a theater in her native Casinum and the performance of Ummidia's pantomimes in public games, we might say that she was the manager of a small "theatrical empire." Finally, because of the great interest in pantomime on the part of the masses and the desire of the upper classes, including members of various imperial families, to soothe these masses with games, control of popular pantomimes might have given Ummidia access to limited political power.
APA, Harvard, Vancouver, ISO, and other styles
4

Suryandoko, Welly, Mustaji, Bachtiar S. Bachri, and Indar Sabri. "“Ku Pantomime Wellmime” Digital Mobile Learning for Cultural Arts Subjects." International Journal of Interactive Mobile Technologies (iJIM) 16, no. 16 (August 31, 2022): 226–42. http://dx.doi.org/10.3991/ijim.v16i16.34237.

Full text
Abstract:
This article shows the Effectiveness of Digital Teaching Materials for Theater Arts Subjects for Junior High School in the form of the Wellmime Technique-Based "Ku Pantomim" Android Application. These research instruments are interview guidelines, questionnaires, and observation sheets. The data is analyzed using the mixed method. The results and conclusions of this study show the effectiveness of development products by 79% with cryptic "interested" and practical, including: 1) andriod application usage book "Ku Pantomim with syntax contained in learning design,; 2) Adroid application "Ku Pantomim" and 3) Wellmime Pantomime Technique book in which integrated the principles of pantomime techniques.
APA, Harvard, Vancouver, ISO, and other styles
5

Allawi Salal, Aqil, and Russil Kadim oda. "Actor's skills in pantomime theater performances." Al-Academy, no. 105 (September 15, 2022): 121–32. http://dx.doi.org/10.35560/jcofarts105/121-132.

Full text
Abstract:
The art of pantomime mime is one of the arts that has taken a wide space in theater performances, and because it is one of the spectacle shows that relies on an acting performance that is unique from the traditional acting performance, because of the peculiarity of pantomime art in that it is a silent performance that assumes the clarity of meaning, and for the purpose of clarifying the actor’s work in such kind of performances, the art of pantomime must be We have to know the skills that the actor can possess in order to produce a silent show that has the elements of a successful presentation, so there was a need to study the skills of the actor in this type of acting performance. The researchers divided this study into an introduction in which they dealt with the research problem formulated in the following question: What is The performance skills that the actor has to master? Then the research objective and the definition of the study term. As for the theoretical foundation, it included two topics: the first topic (the development of the art of the pantomime) and the second topic (the technical skills of the representative of the pantomime). In 2006. Then the two researchers reached a set of results, including: The skill of completing each theatrical act before starting another theatrical act must be present with the actor so that the spectator does not confuse the description of the forms, the event and the story. Then a summary and sources of research in English.
APA, Harvard, Vancouver, ISO, and other styles
6

Cox, Jeffrey N. "“Illegitimate” Pantomime in the “Legitimate” Theater: Context as Text." Studies in Romanticism 54, no. 2 (2015): 159–86. http://dx.doi.org/10.1353/srm.2015.0021.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Repertório, Teatro &. Dança. "DO MOLEQUE BEIJO AO MESTRE DE GERAÇÕES [Daniel Marques da Silva]." REPERTÓRIO, no. 15 (July 7, 2010): 131. http://dx.doi.org/10.9771/r.v0i15.5219.

Full text
Abstract:
<div>O artigo apresenta um perfil biográfico de Benjamim de Oliveira - palhaço, ator, autor teatral, cantor, ensaiador e diretor de companhia – desde sua infância no sertão de Minas Gerais, em meados do Século XIX até a consagração de sua carreira no Rio de Janeiro do início do século XX. Ainda destaca sua atuação para a consolidação do circoteatro, prática artística híbrida composta por melodramas, comédias, mágicas, revistas e pantomimas executadas como segunda parte da função circense.<br><br /></div><div>The article presents Benjamim de Oliveira’s profile – as actor, clown, dramatic author, singer, metteur en scéne and theater company director – from since his childhood in Minas Gerais countryside in the middle nineties until his success in Rio de Janeiro in early twenties. The work emphasize his attempt in order of consolidating circus-theater performance, an hybrid artistic language which encompasses melodrama, comedy, prestidigitation, music hall and pantomime, perfomed usually at the circus second part of show.</div>
APA, Harvard, Vancouver, ISO, and other styles
8

El- Guendi, Gilane. "L’art de la pantomime dans le nouveau theater étude appliquée." مجلة کلیة الآداب.بنها 39, no. 2 (January 1, 2015): 2–45. http://dx.doi.org/10.21608/jfab.2015.48446.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Krasnovа, Nataliia. "Technologies of Aesthetic Education of Personality by Means of Theatrical Art." Bulletin of Luhansk Taras Shevchenko National University 1, no. 6 (344) (2021): 78–92. http://dx.doi.org/10.12958/2227-2844-2021-6(344)-1-78-92.

Full text
Abstract:
The article characterizes theatrical art as a combination of pictorial possibilities of different arts: literature, stage, painting, architecture, dance, etc. Characteristics, differences of types of theater are given: dramatic, musical (opera, operetta, ballet), pantomime, puppet theater, theater of small forms, which in a way influence the formation of the personality of the younger generation. It is shown that aesthetic education can be considered as a universal means of personal development based on the identification of individual abilities, diverse aesthetic needs and interests. The purpose of aesthetic education is determined, namely, on the basis of perception, interpretation of works of art and practical artistic and creative activity to form in a person a personal and valuable attitude to reality and art, to develop aesthetic consciousness, cultural and artistic competence, ability to self-realization, need for spiritual self-improvement. It is proved that artistic and pedagogical technologies are the most effective in the process of aesthetic education of personality; their structure contains: human resources (emotionally colored subject-subject interaction, a palette of forms and methods of organizing various types of artistic and creative activities), artistic and intellectual resources (works of art, artistic knowledge, ideas, meanings, values), technical resources (audiovisual, computer); types: local (specific methods for the development of certain skills and abilities), systemic (covering the holistic educational process, various arts). Forms and methods of art and game technologies (dramatization, pantomime, staging, dramatization) that contribute to the aesthetic education of the individual are presented.
APA, Harvard, Vancouver, ISO, and other styles
10

Mliless, Mohamed, and Handoko Handoko. "Green Pantomime When Silence Speaks out Environmental Issues." Andalas International Journal of Socio-Humanities 3, no. 1 (July 15, 2021): 11–37. http://dx.doi.org/10.25077/aijosh.v3i1.16.

Full text
Abstract:
Green Pantomime Theater (GPT) is a tool for promoting children environmental awareness and activism. This paper provides insight into how environmental issues can be embedded in green performances and consequently offers a model of socio-environmental change. In Morocco, GPT performances aim to change children behavior, enhance their environmental awareness, and develop their abilities to act as protectors of the environment. The status of PGT upon children has considerably changed within the Moroccan theatre context. The ‘Creativity Association for the Development of Educational Work’, under Arabic name of ‘جمعية إبداعات لتنمية العمل التربوي ’, is a Moroccan non-governmental association that employs GPT to promote environmental awareness and activism. The study examines a 45 minutes show performed by ‘the Joker’ theatre group titled ‘هجرة البيئة: Environment Migration’. Within the framework of ecocriticism (Bracke & Corporaal, 2010) and visual grammar (Kress & van Leeuwen, 2006), the present work attempts to explain how silence, gestures, and visuals mirror the themes of the show. The study argues that environmental themes adopted in the performance strongly point to the Anthropocene's responsibility in destroying nature. For example, scenes on pollution, deforestation, the killing of species, and unreported and unregulated fishing (UUF) show that man has been dramatically affecting the environment. To make of the show a success, participating actors have meticulously used signs and gestures to silently express their views about a highly sophisticated issue. They have made of this show a universal performance in that anyone anywhere can perceive. Eventually, GPTs are highly recommended to identify lines of confrontation that man has with nature. Also, GPTs are important in that they represent man’s practices through gestures and signs and may provide responses for inspiring socio-ecological change.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Pantomime Theater Theater"

1

Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." Thesis, The University of Sydney, 1996. http://hdl.handle.net/2123/1617.

Full text
Abstract:
'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
APA, Harvard, Vancouver, ISO, and other styles
2

Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." University of Sydney, 1996. http://hdl.handle.net/2123/1617.

Full text
Abstract:
Doctor of Philosophy
'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
APA, Harvard, Vancouver, ISO, and other styles
3

Sullivan, Jill Alexandra. "The business of pantomime : regional productions 1865 to 1892." Thesis, University of Nottingham, 2005. http://eprints.nottingham.ac.uk/11078/.

Full text
Abstract:
Whilst in recent years the study of nineteenth-century popular theatre and culture has expanded into the music hall, fairgrounds and 'minor' theatres, embracing melodrama and spectacle, the Victorian pantomime has attracted little attention. More especially, the widespread and dynamic productions of the English provincial theatres have been largely excluded in discussions that repeatedly focus on the London stage. My thesis is centred on the Theatres Royal of Nottingham and Birmingham, two towns sited in the English Midlands, but with markedly different population sizes, socioeconomic structures and national status. My argument, however, is not predicated on comparison but rather on siting the pantomimes within the very specific local contexts of each town. The relationship between the pantomime and the town engages with a notion of audience, identifiable through textual and promotional materials. The argument in my thesis moves from an overview of production styles at the two theatres to a specific analysis of the financing and promotion of the pantomime at Nottingham in the mid- 1860s. Using extant financial records, I have established how the pantomime was produced in times of local hardship, and how a production affected by low expenditure and failing revenue was promoted to its potential audiences. The emphases of advertising and the promotional techniques engaged by the theatre managements, together with those of the local newspapers also enable a reassessment of the role of the pantomime author. The traditional understanding of authorship as related to ownership of the text is reconsidered in relation to the role the pantomime author played in the promotion of the production, and his real and construed relationship to the theatre and town for which he was writing. Moreover, the available empirical evidence has served to foreground the pantomime text as an expression of local concerns and political interests that were particular to each town and displayed an acute awareness of issues of regional identity and status.
APA, Harvard, Vancouver, ISO, and other styles
4

Kallemeyn, Rebecca. "ESCAPIST CATHARSIS: REPRESENTATION, OBJECTIFICATION, AND PARODY ON THE PANTOMIME STAGE." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211920375.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Taylor, Millie. "Music in theatre : towards a methodology for examining the interaction of music and drama in theatre works of the twentieth century." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324736.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Taylor, Wendy Amanda. "English pantomime in London in the period 1779 to 1786." Thesis, Cardiff University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313841.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Stentz, Barbara. "Les représentations de la douleur dans les arts graphiques en France au XVIIIè siècle." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG032.

Full text
Abstract:
Notre thèse interroge les formes et les enjeux des représentations de la douleur au XVIIIe siècle dans les arts graphiques, les dessins et les gravures revêtant à la fois un caractère d’expérimentation et d’indice dans la diffusion des thèmes. L’étude tient compte des conventions, des débats et des codifications dont elles faisaient alors l’objet dans le domaine esthétique, médical, social et politique. À l’heure où l’on estime que la douleur doit s’effacer, il nous paraît important d’évaluer ses occurrences et ses mises en scène passées. À cet égard, les arts figurés de la seconde moitié du XVIIIe siècle offrent, en France, un champ d’étude remarquable. Les débats esthétiques autour du groupe sculpté du Laocoon et du voile dit « de Timanthe », mais aussi, sur le plan médical, les interrogations à propos de la persistance de la douleur chez les suppliciés par décollation, témoignent de cet intérêt
This study aims to examine the forms and the issues of pain in graphic arts during the 18th century, as drawings and engravings take on an experimental aspect and constitute precious evidence of patterns diffusion. It considers the conventions, the debates and the codifications determining its figurative representations, in relation to aesthetic, médical, social and political matters. In a time when pain tends to be obscured by people who are supposed to be in charge of it, it seemed important to appraise its occurrences and its past depictions. Seen from this perspective, the French figurative arts through the second half of the 18th century offer a remarkable field of study. The aesthetic debates about the sculpted group of Laocoon and the veil of Timanthes, or, on a medical level, concenring pain persistence in persons convicted and decapitated, reveal that this passion was of great interest for the theorists at that time
APA, Harvard, Vancouver, ISO, and other styles
8

Picat-Guinoiseau, Ginette. "Nodier et le theatre." Paris 4, 1987. http://www.theses.fr/1987PA040044.

Full text
Abstract:
Le monde ou nodier vecut son enfance et sa jeunesse mettait le theatre au premier plan de ses preoccupations, faisant de lui un spectateur enthousiaste, un critique pertinent et un auteur fecond, quoique peu joue. Ses admirations pour les grands classiques et shakespeare, qu'il prone dans son cours de litterature de dole et dans les journaux, sa frequentation des milieux dramatiques n'aboutissent de facon efficace (malgre quelques creations dont il ne reste quasi rien) qu'a une serie de feuilletons dramatiques (le feuilleton des debats qu'il tient de facon active en 1814) ; il y apparait resolument classique, encore qu'il reconnaisse tous droits au genie. - sa carriere proprement dramatique couvre les annees 1820- 1828 ; il est l'auteur (en collaboration) de cinq pieces, qui posse- dent quelques caracteres originaux : l'inspiration frenetique, la forme mi-populaire mi-litteraire, a mi-chemin du melodrame et du drame romantique, le fait d'etre tirees du theatre etranger, dont il se montre par ailleurs, dans les journaux, le defenseur convaincu et actif. - mais la cinquantaine marque un tournant deci- sif : nodier ne va plus au theatre ; sa creation se modifie : au drame, se substitue le conte ; la comedienne y reparait, promue au rang de mythe ; la critique fait place au temoignage de l'experience vecue. A- pres un bref essai de la pantomine, nodier redecouvre les vertus des marionnettes, qu'il considere desormais comme le theatre essen- tiel, incarnant les valeurs eminentes de liberte et d'esprit d'en- fance, satisfaisant imagination et sensibilite
The world where nodier lived in during his child hood and his youth put the theatre on the top of his preoccupations, making him an enthusiastic spectator, a pertinent critic and a fertile author, though rarely performed. His admiration for the great classics and shakespeare, who he praises in his dole's litterature conferences and in the newspapers, his frequentation of the theatre world, lead with a certain efficiency only to a whole series of dramatic feuilletons in the journal des debats (1814) (except some creations of which there is very few left); his ideas are classic although he accepts the rights of the genius. - his theatrical carreer covers the 1820-1828 period ; he is the author (jointly) of five plays which show some original characteristics : the frenetic inspiration, the genre -half popular, half litterary- between the melodrama and the romantic drama, the subjects coming from the foreign theatre which he defends actively and with conviction in the newspapers. - however, in his fifties, nodier shows a significant turning point : he doesn't go to the theatre anymore, his creation changes, the tale replaces the drama ; the actress reappears, as a myth ; the criticism hands o- ver to the account of real-life experience ; after having tried the pantomime for a while, nodier rediscovers the qualities of the pup- pets, which he considers now as the essential theatre, incarnating the eminent worths liberty and childhood spirit, satisfying the ima- gination and the sensitiveness
APA, Harvard, Vancouver, ISO, and other styles
9

Hoskins, William Donald. "The major theatres of London, c.1800-1815 : including a survey of operatic and other musico-dramatic works." Thesis, Cardiff University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243977.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Minott, Egglestone Ruth Elizabeth. "Beanstalk to macca tree : the development of the national pantomine by the Little Theatre Movement of Jamaica, 1941-2003." Thesis, University of Hull, 2006. http://hydra.hull.ac.uk/resources/hull:14018.

Full text
Abstract:
Greta Bourke and Henry Fowler, co-founders of the Little Theatre Movement of Jamaica, initiated the L TM Pantomime tradition in 1941 to raise funds for an experimental theatre, which would both house contemporary trends from Europe and America and carve out a creative space for the indigenous culture of an emergent New Jamaica. The LTM actively developed the Pantomime audience at the Ward Theatre to reflect a cross-section of society. Coachloads of adults and children from country districts joined the established middle-class theatregoers as well as representatives of the inner city 'people of the yard'. Gradually, the original English-pantomime style production metamorphosed into a different entity. Topical reference, proverbial wisdom, song, dance and vibrant colour were mixed and expressed in language, which zigzagged along the continuum between Jamaican Standard English and Patwa. Over six decades, Jamaican Pantomime has created a prestigious performative space for the retelling of many episodes from the life story of an old island. Intrinsic to this context is a system of shared beliefs which operates on a number of levels: the value of received wisdom, the redemptive nature of Christian faith, Anancyism as a strategy of survival, and national aspirations for unity based on the principle of mutual respect. The Little Theatre complex, which opened in 1961, housed the national schools of drama and dance before they became part of an integrated Visual and Performing Arts College for the island. Furthermore, a catalogue of the thousands of people who have been involved in LTM productions over six decades reads as a Who's Who of Jamaican cultural development in the twentieth century. Instead of merely mimicking the English model. the L TM Pantomime evolved into a distinct form of indigenous theatre and rekindled the folk tradition as an expression of national identity within the context of contemporary popular culture.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Pantomime Theater Theater"

1

Pentz, John A. The Martinetti family: The story of a nineteenth-century pantomime company. New York: Vantage Press, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Cole, Hannah. The pantomime witch. Nashville, Tenn: Ideals Children's Books, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Danser le mythe: La pantomime et sa reception dans la culture antique. Louvain [Belgium]: Peeters, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Fann al-tamthīl al-ṣāmit (al-mayim) fī al-ʻIrāq: Dirāsah wa-nuṣūṣ. Baghdād: Dār al-Shuʼūn al-Thaqāfīyah al-ʻĀmmah, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

De un teatro sin palabras: La pantomima en España de 1890 a 1939. Rubí, Barcelona: Anthropos Editorial, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Garduño, Flor. Mummenschanz 1972-1997. Alstātten [Switzerland]: Tobler, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Il mimo teatrale greco-romano: Lo spettacolo ritrovato. Roma: Università La Sapienza, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Frow, Gerald. "Oh, yes it is"!: A history of pantomime. London: British Broadcasting Corp., 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Intervals: A trio of sketches. Colwall: J. Garnet Miller, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Baird, George. Places of entertainment in Edinburgh. [Edinburgh]: [s.n.], 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Pantomime Theater Theater"

1

Newey, Katherine, and Jeffrey Richards. "Pantomime." In John Ruskin and the Victorian Theatre, 140–67. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230276512_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Nuss, Melynda. "Pantomime." In Distance, Theatre, and the Public Voice, 1750–1850, 13–32. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137291417_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Varty, Anne. "Pantomime: An Audience of Children." In Children and Theatre in Victorian Britain, 138–47. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230286061_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Leach, Robert. "Pantomime and ballad opera." In An Illustrated History of British Theatre and Performance, 448–55. First edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019–: Routledge, 2018. http://dx.doi.org/10.4324/9780429463686-58.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Weismann, Werner. "Antiquarisches Interesse für den Mimus und Pantomimus." In Theater, Theaterpraxis, Theaterkritik im kaiserzeitlichen Rom, edited by Joachim Fugmann, Markus Janka, Ulrich Schmitzer, and Helmut Seng, 175–92. Berlin, Boston: De Gruyter, 2004. http://dx.doi.org/10.1515/9783110928853-009.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Weltman, Sharon Aronofsky. "Pantomime Truth and Gender Performance: John Ruskin on Theatre." In Ruskin and Gender, 159–76. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230522480_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Taylor, David Francis. "Harlequin Napoleon; or, What Literature Isn’t." In The Politics of Parody, 210–48. Yale University Press, 2018. http://dx.doi.org/10.12987/yale/9780300223750.003.0007.

Full text
Abstract:
This concluding chapter begins by addressing the image of Napoleon as Harlequin. In appropriating the iconography of pantomime, conscripting it in the service of wartime propaganda, Harlequin-Napoleon prints and broadsides are involved in a complex form of cultural negotiation. They map onto military conflict the vocabulary of a longstanding culture war whereby the highly charged and always renewed binaries of high–low, literature–entertainment, and elite–popular become a means of comprehending the military and political confrontation between Britain and Napoleonic France. Moreover, images of Harlequin Napoleon implicitly mobilize and affirm particular conceptions of “literature” and “the literary” even as they strenuously avoid visibly naming or referencing them. The chapter then considers pantomime, a form of popular theater at the core of long-standing and pervasive anxieties about the dissolution of British culture.
APA, Harvard, Vancouver, ISO, and other styles
8

Van Leuven, Holly. "“What Will You Be? It’s Up to You!”." In Ray Bolger, 7–24. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639044.003.0002.

Full text
Abstract:
Ray Bolger was descended from Irish Catholic Republicans. Chapter 1 explores his origins in Boston, including details of his nuclear family. Also discussed is Bolger’s pre-entertainment career of being an office clerk for New England Mutual Life insurance. He learned to dance informally on the streets of Boston in a style called “eccentric dance,” a tradition of stylized physical comedy that exploded in America in the late nineteenth and early twentieth centuries. Its origins could be traced all the way back to pantomime performed in Ancient Greece. Even so, Bolger most definitely “came up the hard way”—attaining success and notoriety only by overcoming difficult circumstances. The events that led to his beginnings as a dancer are explored, as well as his first professional opportunities as a comic and a dancer in repertory theater and vaudeville.
APA, Harvard, Vancouver, ISO, and other styles
9

Otto, Sven-Joachim. "Kommunale Theater und Beihilfenrecht." In Paragrafen Pantomimen Partisanen, 63–76. Nomos Verlagsgesellschaft mbH & Co. KG, 2019. http://dx.doi.org/10.5771/9783748902805-63.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Kotte, Andreas, and Beate Schappach. "Der Eigensinn von Theater." In Paragrafen Pantomimen Partisanen, 97–108. Nomos Verlagsgesellschaft mbH & Co. KG, 2019. http://dx.doi.org/10.5771/9783748902805-97.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Pantomime Theater Theater' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography