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Journal articles on the topic 'Pantomime'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Russon, Anne, and Kristin Andrews. "Orangutan pantomime: elaborating the message." Biology Letters 7, no. 4 (2010): 627–30. http://dx.doi.org/10.1098/rsbl.2010.0564.

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We present an exploratory study of forest-living orangutan pantomiming, i.e. gesturing in which they act out their meaning, focusing on its occurrence, communicative functions, and complexities. Studies show that captive great apes may elaborate messages if communication fails, and isolated reports suggest that great apes occasionally pantomime. We predicted forest-living orangutans would pantomime spontaneously to communicate, especially to elaborate after communication failures. Mining existing databases on free-ranging rehabilitant orangutans' behaviour identified 18 salient pantomimes. The

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2

Koenig, Amy A. "The Pantomimic Voice." Greek and Roman Musical Studies 9, no. 2 (2021): 320–40. http://dx.doi.org/10.1163/22129758-bja10027.

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Abstract Ovid’s Metamorphoses, as scholars have demonstrated, can be read in dialogue with Roman pantomime dance, and the tale of Echo and Narcissus is one of its most ‘pantomimic’ episodes. While others have focused on the figure of Narcissus in this vein, I turn instead to Echo, whose vocal mimicry can be seen as a mirror of the pantomime’s art, and whose juxtaposition with Narcissus seems emblematic of the body-voice relationship in pantomime. Echo’s desire for Narcissus engages with an existing lyric tradition of depicting the relationship between singing voice and dancing body in erotic t

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3

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 (2022): 226–42. http://dx.doi.org/10.3991/ijim.v16i16.34237.

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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 Pan

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4

LAW, HEDY. "‘Tout, dans ses charmes, est dangereux’: music, gesture and the dangers of French pantomime, 1748–1775." Cambridge Opera Journal 20, no. 3 (2008): 241–68. http://dx.doi.org/10.1017/s0954586709990073.

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AbstractIn 1779 Chabanon noted the potential danger inherent in gesture because it might produce instantaneous and harmful effects. This article examines how Rameau, Rousseau and Grétry incorporated putatively dangerous gestures into the pantomimes they wrote for their operas, and explains why these pantomimes matter at all. In Rameau's Pygmalion (1748), Rousseau's Le Devin du village (1752–3) and Grétry's Céphale et Procris (1773, 1775), pantomime was presented as a type of dance opposite to the conventional social dance. But the significance of this binary opposition changed drastically arou

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5

GÄRdenfors, Peter. "Pantomime Als Grundlage Für Ritual Und Sprache." Studia Liturgica 48, no. 1-2 (2018): 23–40. http://dx.doi.org/10.1177/00393207180481-203.

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Dieser Beitrag versucht die evolutionären Ursprünge von Ritualen nachzuvollziehen. Meine These ist dabei, dass Rituale als Konventionalisierungen von Pantomimen entstanden sind. Die ursprüngliche Funktion von Pantomime ist die Lehre. In dieser Funktion bezieht sich Pantomime auf Demonstration. Mein Schwerpunkt in diesem Beitrag liegt auf Ritualen, die eine Identifikation als Gruppe erzeugen. Wie die Pantomime bezeichnen Rituale eine Bedeutung, die über die eigentliche Aktion hinausgeht. Wie Pantomime und Demonstration ist auch das Rituale ein Instrument für das Lernen. Gelernt werden Glaubenss

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GÜRdenfors, Peter. "Pantomime as a Foundation for Ritual and Language." Studia Liturgica 48, no. 1-2 (2018): 41–55. http://dx.doi.org/10.1177/00393207180481-204.

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This article aims at tracing the evolutionary roots of rituals. My main thesis is that rituals have emerged as conventionalizations of pantomimes. The original function of pantomime is for teaching. In that function, pantomime derives from demonstration. My focus in this article is on rituals that produce group identification. Like pantomime, rituals signify meaning beyond the actual actions. Like demonstration and pantomime, ritual is a tool for learning. What is learnt is system of beliefs that become shared within a society. Such shared beliefs strengthen the cohesion within a society. Alth

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King, Sally. "Identifying the socio-economics of pantomime through Cinderella’s footwear in 2017–18 adaptations of the tale." Studies in Costume & Performance 4, no. 1 (2019): 43–64. http://dx.doi.org/10.1386/scp.4.1.43_1.

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Footwear plays a significant role in the fairy tale Cinderella and in different versions of the tale the eponymous character’s slipper has taken many different forms. Meanwhile, pantomime producers have for centuries been turning to the Cinderella tale for their stage adaptations, during which time the pantomimic slipper has regularly been described as a glass slipper, drawing on Charles Perrault’s 1697 French version of the tale. The glass slipper has also become the most popular form in literature, film and other media, particularly under the influence of Disney. This said, the description d

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8

Svarnyk, Bohdan. ""Pantomimic Culture" and Interdisciplinary Aspects of Its Theoretical Understanding." Culture and Arts in the Modern World, no. 20 (May 30, 2019): 258–66. https://doi.org/10.31866/2410-1915.20.2019.172467.

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The aim of the article is to identify the essence of the concept of “pantomimic culture” based on the analysis of the concepts of “culture” and “pantomime”. Research methods. The main methodological principles of the research are scientific objectivity and systematic approaches in the use of complementary methods: theoretical (analysis of cultural, art history and historical literature), empirical and analytical (theoretical and art historical analysis of the phenomenon of “pantomime”). General culturological research methods, historical and anal

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9

Sabri, Indar, Muhammad Jazuli, Totok Sumaryanto, and Autar Abdillah. "JEMEK SUPARDI, MIME ARTIST INDONESIA (A Study of Life History)." Humanus 18, no. 1 (2019): 40. http://dx.doi.org/10.24036/humanus.v18i1.103977.

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This study aims to examine the biography of pantomime figures named Jemek Supardi, who is known as the maestro of Indonesian pantomime, which includes: life history, way of thinking and his roles in developing pantomime in Indonesia. This study uses biographical theory, by telling the life of a character. This study also uses some supporting theories: life history theory, creativity theory, and role theory. This research is a qualitative research with a biographical study approach to describe the history of one's life (life history). Data collection techniques are carried out by observation, i

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Sibierska, Marta, Monika Boruta-Żywiczyńska, Przemysław Żywiczyński, and Sławomir Wacewicz. "What’s in a mime?" Interaction Studies 23, no. 2 (2022): 289–321. http://dx.doi.org/10.1075/is.22002.sib.

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Abstract Several lines of research within developmental psychology, experimental semiotics and language origins studies have recently converged in their interest in pantomime as a system of bodily communication distinct from both language (spoken or signed) and nonlinguistic gesticulation. These approaches underscore the effectiveness of pantomime, which despite lack of semiotic conventions is capable of communicating complex meanings. However, very little research is available on the structural underpinnings of this effectiveness, that is, the specific properties of pantomime that determine i

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

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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 s

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Russon, Anne E. "Pantomime and imitation in great apes." Interaction Studies 19, no. 1-2 (2018): 200–215. http://dx.doi.org/10.1075/is.17028.rus.

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Abstract This paper assesses great apes’ abilities for pantomime and action imitation, two communicative abilities proposed as key contributors to language evolution. Modern great apes, the only surviving nonhuman hominids, are important living models of the communicative platform upon which language evolved. This assessment is based on 62 great ape pantomimes identified via data mining plus published reports of great ape action imitation. Most pantomimes were simple, imperative, and scaffolded by partners’ relationship and scripts; some resemble declaratives, some were sequences of several in

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13

Lipton, Martina. "Celebrity versus Tradition: ‘Branding’ in Modern British Pantomime." New Theatre Quarterly 23, no. 2 (2007): 136–51. http://dx.doi.org/10.1017/s0266464x07000048.

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British pantomime between 1985 and 2005 has undergone an evolutionary reconstruction based on practices of branding. Within this broad field, Martina Lipton distinguishes two competing pantomime models, investigating the contrasting ideological and cultural positioning of dominant representations of modern pantomime by a major production group, Qdos Entertainment, and the Nottingham Playhouse and York Theatre Royal repertory companies. She reads these models as identifying collective experiences and taste communities after the categories identified by Pierre Bourdieu as conferring ‘distinction

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14

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

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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

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King, Sally. "The Fairy Gokmother: Representations of gender and sexuality in the Qdos pantomime Cinderella." Queer Studies in Media & Popular Culture 5, no. 2-3 (2020): 171–89. http://dx.doi.org/10.1386/qsmpc_00034_1.

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Although cross-dressing is a long-standing pantomime tradition, recent pantomimes have featured a male actor playing a traditionally female part while not cross-dressing. An illustration of this is the part of the Fairy in a version of Cinderella developed by production company Qdos Entertainment and performed at the Milton Keynes Theatre in 2017–18, while being toured elsewhere in previous and later years. Casting British celebrity fashion consultant Gok Wan as the Fairy had transgressive potential to promote empowering and positively disruptive attitudes towards gender. Wan the celebrity, in

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16

Eigner, Edwin M. "Imps, Dames and Principal Boys: Gender Confusion in the Nineteenth-Century Pantomime." Browning Institute Studies 17 (1989): 65–74. http://dx.doi.org/10.1017/s0092472500002674.

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Two of the most popular forms of culture in the nineteenth century, and perhaps those to which Victorians had access at the earliest stages of their lives, are nursery rhymes and the Christmas pantomimes. The latter were and still remain the most financially successful of English dramatic forms. Indeed, they kept most of the nineteenth-century theatres open, including even the licensed theatres, and nowadays the pantomime accounts for about one-fifth of the live-theatre tickets sold in England every year. The two forms are connected, of course, because so many of the pantomime characters and p

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17

Sladen, Simon. "There’s More Than One Way to Skin a Cat: Animal Impersonation on the Pantomime Stage." Marvels & Tales 38, no. 2 (2024): 205–29. https://doi.org/10.1353/mat.2024.a953118.

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Abstract: From the cow in Jack and the Beanstalk to the cat in Dick Whittington and goose in Mother Goose , animals are central characters in many pantomime narratives adapted for the stage from fairy and folktales. This article charts the evolution of the pantomime skin role, from the Victorian practice of specialist animal performers in costumes made from natural materials, to today’s bipedal walking, talking, comedic creatures who constitute fairy-tale best friends and family members. Paying particular attention to key practitioners and their costumes, I explore how pantomimes, and through

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18

Willinsky, Raymond, Cindy Liana, Vontricia Velora, and Sri Ninta Tarigan. "Using WH-Questions Method in Pantomime Video via Zoom: Improving Students’ Writing Skill in Narrative Text." Elsya : Journal of English Language Studies 3, no. 2 (2021): 134–40. http://dx.doi.org/10.31849/elsya.v3i2.6214.

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The purpose of this research is to find out whether pantomime videos of WH-Questions, i.e., who, what, when, where, why, which and how, are able to improve students’ narrative text writing ability. Involving students from 10th grade computer network engineering (X TKJ1) of SMK Swasta Imelda Medan, the method used in this research is classroom action research. The action research was conducted in two cycles and analysed two types of data, namely qualitative and quantitative, obtained with instruments of writing test and open-ended questionnaire. The results of the research show that the obvious

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MacNeil, Raymond R., and James T. Enns. "The “What” and “How” of Pantomime Actions." Vision 8, no. 4 (2024): 58. http://dx.doi.org/10.3390/vision8040058.

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Pantomimes are human actions that simulate ideas, objects, and events, commonly used in conversation, performance art, and gesture-based interfaces for computing and controlling robots. Yet, their underlying neurocognitive mechanisms are not well understood. In this review, we examine pantomimes through two parallel lines of research: (1) the two visual systems (TVS) framework for visually guided action, and (2) the neuropsychological literature on limb apraxia. Historically, the TVS framework has considered pantomime actions as expressions of conscious perceptual processing in the ventral str

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Palipana, Sameera, Dariush Salami, Luis A. Leiva, and Stephan Sigg. "Pantomime." Proceedings of the ACM on Interactive, Mobile, Wearable and Ubiquitous Technologies 5, no. 1 (2021): 1–27. http://dx.doi.org/10.1145/3448110.

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We introduce Pantomime, a novel mid-air gesture recognition system exploiting spatio-temporal properties of millimeter-wave radio frequency (RF) signals. Pantomime is positioned in a unique region of the RF landscape: mid-resolution mid-range high-frequency sensing, which makes it ideal for motion gesture interaction. We configure a commercial frequency-modulated continuous-wave radar device to promote spatial information over the temporal resolution by means of sparse 3D point clouds and contribute a deep learning architecture that directly consumes the point cloud, enabling real-time perform

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21

Semmens, Richard. "A Sorcerer's Apprentice? John Weaver's Comic Muse." Congress on Research in Dance Conference Proceedings 2015 (2015): 160–67. http://dx.doi.org/10.1017/cor.2015.25.

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This paper examines John Weaver's Essay Towards an History of Dancing (London, 1712) and his History of the Mimes and Pantomimes (London, 1728). The paper will argue that comic pantomime dancing was critically central to Weaver's agenda as practitioner and writer, theorist, and historian. Modern scholarship has privileged his admittedly considerable contributions in the serious mode in ways that compromise our understanding of his important work overall.

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Goldenberg, Georg. "Facets of Pantomime." Journal of the International Neuropsychological Society 23, no. 2 (2017): 121–27. http://dx.doi.org/10.1017/s1355617716000989.

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AbstractObjectives: Exploring the nature of defective pantomime in apraxia. Methods: Critical review of behavioral associations and dissociations between defective pantomime, imitation of gestures, and real tool use. Analysis of congruencies between crucial lesions for pantomime, imitation, and tool use. Results: There are behavioral double dissociations between pantomime and imitation, and their cerebral substrates show very little overlap. Whereas defective pantomime is bound to temporal and inferior frontal lesions, imitation is mainly affected by parietal lesions. Pantomime usually replica

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Dede Rizal Munir and Ahmad Fajar. "Pendampingan Guru Dalam Pembelajaran Kosakata Bahasa Arab Menggunakan Teknik Pantomim." JPM: Jurnal Pengabdian Masyarakat 4, no. 2 (2023): 206–11. http://dx.doi.org/10.47065/jpm.v4i2.1283.

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This community service journal is motivated by teachers' lack of awareness of learning media in their teaching and learning process. This service describes assistance with pantomime techniques in learning Arabic vocabulary. Apart from describing pantomime techniques, this research aims to provide another picture related to variations in learning. One of the reasons why the pantomime technique was chosen is because pantomime reflects visuals and movement. The aim of this research is to explain the influence of Pantomime technique assistance in learning Arabic vocabulary. The Service Partners in

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Walpole, Hugh. "Christmas Pantomime." Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 1 (2018): 104–6. http://dx.doi.org/10.33178/scenario.12.1.11.

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Kontext: Der achtjährige Jeremy, Sohn des Pfarrers Cole, hat sich tagelang inbrünstig auf die Vorstellung von “Dick Whittington” gefreut, die in der Gemeindehalle des kleinen Ortes Polchester stattfindet. Nun ist er am Morgen in Ungnade gefallen und darf seine Eltern und seine beiden Schwestern nicht zur Aufführung begleiten. Sein Onkel Samuel, erfolgloser Maler und schwarzes Schaf der Familie, nimmt ihn trotzdem heimlich mit. Auf der Empore der Gemeindehalle erlebt Jeremy mit allen Sinnen seine erste Theateraufführung, die – ungeachtet ihrer Mängel – die Welt für ihn verzaubert.. Context: For

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Mattacks, Kate. "‘Natural Pantomime’." Nineteenth Century Theatre and Film 37, no. 1 (2010): 33–44. http://dx.doi.org/10.7227/nctf.37.1.6.

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Marcus, Ben. "“Women’s Pantomime”." Cahiers Charles V 29, no. 1 (2000): 115–23. http://dx.doi.org/10.3406/cchav.2000.1275.

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McCann, Hannah. "Pantomime Dames." Australian Feminist Studies 30, no. 85 (2015): 238–51. http://dx.doi.org/10.1080/08164649.2015.1129685.

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Rothi, L. J., L. Mack, and K. M. Heilman. "Pantomime agnosia." Journal of Neurology, Neurosurgery & Psychiatry 49, no. 4 (1986): 451–54. http://dx.doi.org/10.1136/jnnp.49.4.451.

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Hutnyk, John. "Pantomime Terror." Journal of Creative Communications 2, no. 1-2 (2007): 123–41. http://dx.doi.org/10.1177/097325860700200207.

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SOWERBY, SCOTT. "Pantomime History*." Parliamentary History 30, no. 2 (2011): 236–58. http://dx.doi.org/10.1111/j.1750-0206.2011.00270.x.

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Kaliwanovia, Tasi'awati Salsa, and Rizka Nur Oktaviani. "PENGEMBANGAN BUKU AJAR PANTOMIM BERBASIS AUGMENTED REALITY (AR) DALAM BENTUK POP UP." Jurnal Pendidikan Sendratasik 12, no. 2 (2024): 274–91. https://doi.org/10.26740/jps.v12n2.p274-291.

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Pengembangan buku ajar pantomime berbasis augmented reality (AR) dalam bentuk pop up ini dibuat sebagai referesi dan penunjang dalam pembelajaran untuk menumbuhkan ketertarikan siswa dalam belajar pantomime. Di sekolah dasar khususnya, masih kekurangan buku panduan dan teknik dalam bermain pantomime, buku yang ada hanya sebatas definisi dan penjelasan pantomime secara umum. Tujuan dalam penelitian ini yakni mendeskripsikan kualitas dari segi produk buku ajar pantomime berbasis augmented reality (AR) dalam bentuk pop up dan mendeskripsikan kualitas dari segi penggunaan buku ajar pantomime berba

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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.

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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

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BROAD, LEAH. "Scaramouche, Scaramouche: Sibelius on Stage." Journal of the Royal Musical Association 145, no. 2 (2020): 417–56. http://dx.doi.org/10.1017/rma.2020.15.

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AbstractSibelius’s only balletic pantomime, Scaramouche, composed in 1913, remains one of his least-known works, even though it is one of his longest dramatic scores and belongs to his period of compositional re-evaluation. This article explores the pantomime in the context of its first production, performed in 1922 in Denmark and 1924 in Sweden. It argues that the pantomime’s reception both illuminates the importance of dance as a formative ‘modern’ genre within the Nordic countries during this period, and demonstrates that the score is defined by stylistic plurality, which was key to its the

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Kosareva, Anna Aleksandrovna. "Harlequinade grotesque in D. H. Lawrence’s novel “Mr. Noon”." Philology. Issues of Theory and Practice 16, no. 9 (2023): 3050–56. http://dx.doi.org/10.30853/phil20230477.

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The aim of the research is to identify the features of harlequinade grotesque in D. H. Lawrence’s novel “Mr. Noon”. The paper briefly outlines the main approaches to the study of this work, analyses the system of images, reveals the content of the “harlequinade grotesque” notion and the grounds for which Lawrence employs it. Allusions to famous English pantomimes of the XVII and XIX centuries are revealed. As a result, a hypothesis that the writer deliberately turned to the composition and imagery of the English pantomime in order to romanticise and dramatise the narrative while enhancing its

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Suryandoko, Welly, Heru Setyono, and Rudloffudin Jindan. "Developing of Android Application "Ku Pantomime" for Junior High School Students." AL-ISHLAH: Jurnal Pendidikan 15, no. 1 (2023): 1087–100. http://dx.doi.org/10.35445/alishlah.v15i1.3503.

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The main purpose of this study is the development of the Android application "Ku Pantomime" to strengthen knowledge and pantomime skills in junior high school students. Android application "Ku Pantomime" is an interactive learning feature for Mime's knowledge and skills. Development research with the Addie model approach consists of five stages of implementation. The research implementation stage reaches the product development stage. This research instrument is a guideline for interviews, expert validation instruments, questionnaires, and observation sheets. Data were analysed using the mixed

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Asyary, Hasyim, and Syeilendra Syeilendra. "PANTOMIME DI SD PEMBANGUNAN LABORATORIUM UNP: KEGIATAN PENYALURAN BAKAT TEATER SISWA MELALUI KEGIATAN EKSTRAKURIKULER." Jurnal Sendratasik 9, no. 2 (2020): 17. http://dx.doi.org/10.24036/jsu.v9i1.109532.

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This research aims to describe the implementation of theater talent manifestation activities through pantomime extracurricular at SD Pembangunan Laboratorium UNP, Universitas Negeri Padang, West Sumatra.This is a qualitative research using descriptive analysis method. The main instrument used was the researcher itself and was assisted by supporting instruments such as writing instruments and cellphone cameras. The data were collected through observation, interviews, literature study, and documentation. The data were analyzed by separating primary and secondary data. Then, the contents were gro

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Lada-Richards, Ismene. "INCREDVLVS ODI: HORACE AND THE SUBLITERARY AESTHETIC OF THE AUGUSTAN STAGE." Cambridge Classical Journal 65 (March 19, 2019): 84–112. http://dx.doi.org/10.1017/s1750270519000010.

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Starting from the comparative standpoint of elite hostility to nineteenth-century British melodrama, this article posits pantomime's ‘melodramatic’ mode of exhibitionist excess as one of the missing links in the landscape against which Horace composed hisArs poetica. It suggests that lines 182–8 of theArsthat disapprove the display of death, violence and physical impossibilities on the tragic stage may be better understood as Horace's hostile response to pantomime's increasing prominence in Roman theatrical life, more precisely to the dislocation of ‘horror’ and ‘marvel’ from the realm of the

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Heiniger, Abigail. "The Magic of Patwa in Bluebeard and Brer Anancy : Colonial Oppression and the Transgressive Power of Language." Marvels & Tales 39, no. 1 (2025): 58–77. https://doi.org/10.1353/mat.2025.a960564.

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Abstract: Caribbean Renaissance author the Rt. Hon. Dr. Louise Bennett-Coverley (1919–2006) went by “Miss Lou” for most of her artistic career. Her Jamaican vernacular poetry, stories, songs, and performances were nothing short of revolutionary in colonial Jamaica. In 1949, Bennett-Coverley put that power on stage in the first Caribbean pantomime, Bluebeard and Brer Anancy . Bennett-Coverley brought the power of Patwa and traditional Jamaican folklore to the imported British fairy-tale tradition, initiating a new era of Caribbean pantomimes in the British Caribbean.

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Norwood, Janice. "Stage Echoes: Tracing the Pantomime Harlequinade through Comic Ballet, Trap Work, and Silent Film." Theatre Survey 65, no. 3 (2024): 185–207. http://dx.doi.org/10.1017/s004055742400022x.

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In 2010 film and theatre historian David Mayer urged researchers to look to early film for evidence of continuing traditions of Victorian pantomime, arguing its “audiences tolerated, even enjoyed, the same sight-gags and hackneyed routines that amused their Victorian ancestors.” This article is a response to his challenge and in the process explores wider interconnections. The harlequinade was the portion of the pantomime that occurred after key characters from the narrative pantomime opening are transformed into Clown, Harlequin, Pantaloon, and Columbine. These stock figures, originally deriv

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Taylor, Millie. "Distance and Reflexivity: Creating the Stage World of Pantoland." New Theatre Quarterly 21, no. 4 (2005): 331–39. http://dx.doi.org/10.1017/s0266464x05000205.

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In pantomime the Dame and comics, and to a lesser extent the immortals, are positioned between the world of the audience and the world of the story, interacting with both, forming a link between the two, and constantly altering the distance thus created between audience and performance. This position allows these characters to exist both within and without the story, to comment on the story, and reflexively to draw attention to the theatricality of the pantomime event. In this article, Millie Taylor concludes that reflexivity and framing allow the pantomime to represent itself as unique, origi

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Sestito, Marisa, and Edwin M. Eigner. "The Dickens Pantomime." Modern Language Review 86, no. 2 (1991): 416. http://dx.doi.org/10.2307/3730559.

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Bellemore, Jane. "Gaius the Pantomime." Antichthon 28 (1994): 65–79. http://dx.doi.org/10.1017/s0066477400000873.

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Gaius had a deep interest in matters theatrical. There is much evidence of his passion for the personalities of the stage and arena, and sources document his actual participation in theatrical and sporting entertainments, including, for the purposes of our discussion, his foray into terpsichorean activities. Most, if not all, of the pantomime ‘appearances’ of Gaius were private, restricted probably to his residence on the Palatine, but one of the reasons which allegedly urged on his assassination in early A.D. 41 was the fear that Gaius was going to dance publicly. Whether or not this motive f

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Gillman, Abigail E. "Hofmannsthal’s Jewish Pantomime." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 71, no. 3 (1997): 437–60. http://dx.doi.org/10.1007/bf03375645.

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Sabee, Olivia. "Mannerism and the Expressive Body in Eighteenth-Century French Ballet: Diderot and Noverre." Eighteenth Century 64, no. 3-4 (2023): 267–85. https://doi.org/10.1353/ecy.2023.a950264.

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Abstract: Studies of ballet reforms in eighteenth-century France often focus primarily on the newly introduced component of pantomime into ballet. By focusing on dance rather than pantomime, I complicate the relationship between narrative form and medium in Jean-Georges Noverre’s pantomime ballets and Denis Diderot’s single extant pantomime ballet scenario. Analyzing both writers’ approaches to narrative register, I examine these in context with their and Rousseau’s views on the belle danse , or danse noble , as a medium. Ultimately, I argue that these thinkers’ divergent views reveal the comp

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Hartanto, Eko Budi. "EFEKTIFITAS MEDIA PEMBELAJARAN PANTOMIM UNTUK MENINGKATKAN KEMAHIRAN BERBICARA (MAHARAH KALAM)." Lahjah Arabiyah: Jurnal Bahasa Arab dan Pendidikan Bahasa Arab 1, no. 2 (2020): 132–38. http://dx.doi.org/10.35316/lahjah.v1i2.821.

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This research is motivated by the difficulties of MTs students. Sunan Bonang Sarang-Rembang both in speaking and making Arabic conversation texts. So this research was carried out using pantomime media to improve students' speaking ability in Arabic, it aims to find out how the application of pantomime, what are the challenges and how to overcome them, and whether there are differences in the ability of students before and after pantomime. This study uses quantitative research and the target is students of class IX MTs. Sunan Bonang Sarang, Rembang. And to find out the results of the problem f

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Lesourd, Mathieu, Josselin Baumard, Christophe Jarry, et al. "Rethinking the Cognitive Mechanisms Underlying Pantomime of Tool Use: Evidence from Alzheimer’s Disease and Semantic Dementia." Journal of the International Neuropsychological Society 23, no. 2 (2017): 128–38. http://dx.doi.org/10.1017/s1355617716000618.

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AbstractObjectives: Pantomiming the use of familiar tools is a central test in the assessment of apraxia. However, surprisingly, the nature of the underlying cognitive mechanisms remains an unresolved issue. The aim of this study is to shed a new light on this issue by exploring the role of functional, mechanical, and manipulation knowledge in patients with Alzheimer’s disease and semantic dementia and apraxia of tool use. Methods: We performed multiple regression analyses with the global performance and the nature of errors (i.e., production and conception) made during a pantomime of tool use

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Mitchell, Gillian A. M. "‘Mod Movement in Quality Street Clothes’: British Popular Music and Pantomime, 1955–75." New Theatre Quarterly 33, no. 3 (2017): 254–76. http://dx.doi.org/10.1017/s0266464x17000306.

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From the late 1950s onwards, young rock ‘n’ roll musicians and popular singers were introduced into commercial Christmas pantomime productions. While this practice, which constituted an extension of their involvement in the broader sphere of variety theatre, has been previously noted, it is seldom accorded much sustained attention. In this article Gillian Mitchell explores the impact which such performers made upon pantomime, while observing the ways in which involvement in pantomime productions affected their careers and aspirations. ‘Pop stars’ brought much-needed revenue to struggling theat

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Amin, Abdul, Murtono Murtono, Irfai Fathurohman, and Indar Sabri. "Pantomime Art Education Technology for Elementary Schools." ANP Journal of Social Sciences and Humanities 2, no. 2 (2021): 128–34. http://dx.doi.org/10.53797/anp.jssh.v2i2.18.2021.

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This study aims to analyze the needs and develop pantomime textbooks as an alternative learning resource for children's performing arts in elementary schools. The pre-research data collection technique was taken through interviews with three companion teachers and three students in three different elementary schools in Rembang Regency. Data strengthening was carried out through interviews with the Rembang Regency Education Office and interviews with pantomime experts in. The conclusion of the overall interview results stated that the existence of pantomime textbooks was an alternative source o

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Castanet, Hervé. "La Pantomime des esprits." La Cause freudienne N° 71, no. 1 (2009): 81–91. http://dx.doi.org/10.3917/lcdd.071.0081.

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Corballis, Michael. "Not Just a Pantomime." American Scientist 95, no. 6 (2007): 533. http://dx.doi.org/10.1511/2007.68.533.

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