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Journal articles on the topic 'Pantomime'
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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. These pantomimes most often functioned as elaborations of failed requests, but also as deceptions and declaratives. Complexities identified include multimodality, re-enactments of past events and several features of language (productivity, compositionality, systematicity). These findings confirm that free-ranging rehabilitant orangutans pantomime and use pantomime to elaborate on their messages. Further, they use pantomime for multiple functions and create complex pantomimes that can express propositionally structured content. Thus, orangutan pantomime serves as a medium for communication, not a particular function. Mining cases of complex great ape communication originally reported in functional terms may then yield more evidence of pantomime.
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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 terms. In such situations, the desire is fulfilled if the performers are both singing and dancing, uniting body and voice in performance. The thwarted union of Echo and Narcissus, however, embodies instead the dynamics of pantomime: the subordination or absence of the voice in favor of the body, and the connection created between dancer and audience.
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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 Pantomim" and 3) Wellmime Pantomime Technique book in which integrated the principles of pantomime techniques.
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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 around 1750, in response to Rousseau's own moral philosophy developed most notably in the First Discourse (1750). Whereas the pantomimes in Rameau's Pygmalion dismiss peasants as uncultured, it is high culture that becomes the source of corruption in the pantomime of Rousseau's Le Devin du village, where uncultured peasants are praised for their morality. Grétry extended Rousseau's moral claim in the pantomime of Céphale et Procris by commending an uneducated girl who turns down sexual advances from a courtier. Central to these pantomimes are the ways in which musical syntax correlates with drama. Contrary to the predictable syntax in most social dances, these pantomimes bring to the surface syntactical anomalies that may be taken to represent moral licence: an unexpected pause, a jarring diminished-seventh chord, and a phrase in a minuet with odd-number bars communicate danger. Although social dances were still the backbone of most French operas, pantomime provided an experimental interface by which composers contested the meanings of expressive topoi; it thus emerged as a vehicle for progressive social thinking.
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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 Glaubenssysteme, die in einer Gesellschaft gemeinsam werden. Der gemeinsame Glauben stärkt den Zusammenhalt in einer Gesellschaft. Ritual und Sprache haben teilweise unterschiedliche Funktionen. Eine Funktion von Ritualen ist der Aufbau und die Förderung von langfristigen Beziehungen, wohingegen Sprache vorrangig Handlungen koordiniert.
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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. Although both ritual and language are tools for sharing worlds, they have partly different functions. One function of ritual is to promote long-term cooperation, while language primarily coordinates action.
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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 does not accurately reflect the physical form of Cinderella’s footwear in modern pantomime performances, which tends to be silver, sparkling, high-heeled shoes. Yet despite this general uniformity in the colour, style, size and material of Cinderella’s slipper presented in pantomimes, each theatre and production company shade their depiction with different nuances. This distinction is achieved through the handling of the slipper in the performance proper, through scripting and mise-en-scène, and through the framing of the slipper in paratextual material, such as programmes, flyers, posters, promotional videos, publicity shots, reviews and exhibitions. Research into this material through document analysis and live spectatorship suggests that the depiction of the slipper is intertwined with identity, specifically the socio-economic identity of each theatre and production. Based on a sample of six Cinderella pantomime productions from the 2017–18 season, it appears that Cinderella’s slipper works to prime and satisfy audiences attending different types of pantomimes. In this way, footwear bolsters each theatre’s self-identification and distinction from others whether they be small or large, recently founded or long-established, locally oriented or inflected by mass-media popular culture, in-house or commercially produced. Financial limitations or extravagance are encoded in the shoes, even when they appear almost identical upon cursory glance.
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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 analytical methods, epistemological principles of cognition of the essence of the concept of “pantomimic culture” were also used. Scientific novelty. Mutual integration of the development and transformation of the concepts of “culture” and “pantomime” has been analyzed in the context of the social and cultural space evolution. The conceptual and categorical apparatus of the research has been defined, in particular, the definition of the concept of “pantomimic culture” has been proposed. Conclusions. The social and communicative significance of pantomime as a cultural phenomenon is difficult to overestimate, since the pantomime act can be interpreted as an interpretation of national or cosmopolitan culture codes, a social and cultural message, an eloquent action of self-expression, a form of intercultural communication, etc. The pantomime culture is positioned as an interdisciplinary concept, the essential basis of which is the triad: man – culture – gesture that allowed us to define it as a cultural and anthropological concept; the universal language of culture that is characterized by a special sign system and uses various artistic signs (icons, indicators and symbols), endowed with certain properties; a unique means of creative embodiment of emotional collisions between the man, art and society under the conditions of modern stage space.
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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, interviews and documentation. Jemek Supardi Supardi's research as subject of study. Data analysis by arranging, sorting, categorizing and grouping the results of observations, interviews, and documentation studies that have been collected. Data analysis is process by reducing the data become a logical and systematic the description. The results and the discussions from The Background of Jemek Supardi Life History is a tenacious person who dares to try new things. Flowing movement is the initial capital in practicing pantomime. His family and environment made Jemek Supardi confident in his abilities. Emotional memories, internal press creativity and external press creativity were the foundation thinking of Jemek Supardi. Jemek Supardiworks as an artist and resource person is a manifestation of his role in the existence of mime in Indonesia.Keywords: Jemek Supardi, Pantomime, Life History.JEMEK SUPARDI, MIME ARTIST INDONESIA (Sebuah Kajian Sejarah Hidup)Penelitian ini bertujuan mengkaji biografi tokoh pantomime bernama Jemek Supardi yang dikenal sebagai maestro pantomim Indonesia, yang meliputi: sejarah hidup, pemikiran dan peran dalam mengembangkan pantomim di Indonesia. Penelitian ini menggunakan teori biografikal yaitu penceritaan tentang kehidupan tokoh. Penelitian ini juga menggunakan teori pendukung yaitu: teori sejarah hidup, teori kreativitas, teori peran. Penelitian ini merupakan penelitian kualitatif dengan pendekatan studi biografikal untuk memaparkan tentang sejarah hidup seseorang (life history). Teknik pengumpulan data dilakukan dengan cara observasi, wawancara dan dokumentasi. Subjek penelitian Jemek Supardi. Analisis data dengan cara mengatur, mengurutkan, mengkategorikan serta mengelompokkan hasil observasi, wawancara, dan studi dokumentasi yang telah terkumpul. Analisis data dengan mereduksi kumpulan data menjadi perwujudandeskripsi yang logis dan sistematis. Hasil dan pembahasan Latar belakang Sejarah Hidup Jemek Supardi merupakan peribadi yang ulet dan berani mencoba hal baru. Gerakan mengalir adalah modal awal dalam berlatih pantomim. Keluarga dan lingkungannya membuat Jemek Supardi yakin dengan kemampuannya. Ingatan emosi, kreativitas internal press dan kreativitas external press menjadi landasan pola piker Jemek Supardi. Jemek Supardi berkarya sebagai seorang seniman dan narasumber merupakan wujud peranya dalam eksistensi pantomim di Indonesia.Kata Kunci: Jemek Supardi Supardi, Pantomim, Life History.
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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 its communicative success. To help fill in this gap, we conducted an exploratory rating study aimed at identifying those properties of pantomime that facilitate its understanding. We analysed an existing corpus of 602 recordings of whole-body re-enactments of short transitive events, coding each of them for 6 properties, and found out that the presence of salient elements (conspicuous objects in a specific semantic space), image mapping (representing the physical orientation of the object), and gender markers (distinguishing between the represented characters) increased the guessability of pantomimes.
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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 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.
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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 inter-related elements. Imitation research consistently shows great apes perform action imitation at low fidelity, but also that action imitation may not represent a distinct process or function. Discussion focuses on how findings may advance reconstruction of the evolution of language, including what great apes may contribute to understanding ‘primitive’ forms of pantomime and imitation and how to improve their study.
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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’. While these companies both offer a somewhat similar mediatized product, they successfully co-exist within a dynamic and competitive marketplace by branding their pantomimes as respectively embracing and resisting the influence of mass-media popular culture. Both branding practices have succeeded in restoring the genre to high visibility and economic success. Martina Lipton is working on a PhD at the University of Queensland.
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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 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.
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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 a similar way to the Fairy in Cinderella, uses psychological transformation, with a helping hand from clothes, to give women more confidence in their bodies. However, the overriding focus of the pantomime was on signalling Wan’s homosexuality while dispelling it as harmless. Clichés about gay men were reinforced in the production and paratexts, particularly through the approach to transformation, the use of costuming to frame Wan as Other, the language around being a fairy and the emphasis on male friendship as opposed to romance. When each of these aspects is compared to alternative representations in other popular and widely circulated versions of Cinderella, the reductive nature of this pantomimic portrayal becomes clear, irrespective of Wan’s degree of complicity.
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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 plots were taken from the nursery tales.
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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 them fairy tales, capture, embed, and disseminate changing ideas about human and animal relationships.
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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 improvement is, by using pantomime video as guided, students were able to create a variety of better ways to start a story or narrative. Besides, the students could make sure that they used the appropriate verb tense in their writing. Moreover, the students could widen their vocabulary in describing the action of the mimes in pantomime video. Remembering the online teaching-learning process held in this pandemic era is hindering students’ engagement with most English skills, the researchers proved that watching pantomime video via Zoom can significantly heighten students’ enthusiasm in learning online and push them to figure out ways, thus using more words, in describing pantomimes than they usually would with traditional lesson instrument of books or written materials.
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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 stream, but an emerging view is that they are jointly influenced by ventral and dorsal stream processing. Within the apraxia literature, pantomimes were historically viewed as learned motor schemas, but there is growing recognition that they include creative and improvised actions. Both literatures now recognize that pantomimes are often created spontaneously, sometimes drawing on memory and always requiring online cognitive control. By highlighting this convergence of ideas, we aim to encourage greater collaboration across these two research areas, in an effort to better understand these uniquely human behaviors.
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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 performance with low computational demands. Pantomime achieves 95% accuracy and 99% AUC in a challenging set of 21 gestures articulated by 41 participants in two indoor environments, outperforming four state-of-the-art 3D point cloud recognizers. We further analyze the effect of the environment in 5 different indoor environments, the effect of articulation speed, angle, and the distance of the person up to 5m. We have publicly made available the collected mmWave gesture dataset consisting of nearly 22,000 gesture instances along with our radar sensor configuration, trained models, and source code for reproducibility. We conclude that pantomime is resilient to various input conditions and that it may enable novel applications in industrial, vehicular, and smart home scenarios.
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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 replicates the motor actions of real use but on scrutiny there are important differences between the movements of real use and of pantomime that cast doubt on the assumption that pantomime is produced by the same motor programs as actual use. A more plausible proposal posits that pantomime is a communicative gesture that uses manual actions for conveying information about objects and their use. The manual actions are constructed by selection and combination of distinctive features of tools and actions. They frequently include replications of characteristic motor actions of real use, but the main criterion for selection and modification of features is the comprehensibility of the gestures rather than the accurate replication of the motor actions of real use. Conclusions: Pantomime of tool use is a communicative gesture rather than a replication of the motor actions of real use. (JINS, 2017, 23, 121–127)
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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 involved in this PkM are Formal Education Institutions, namely MA YPPA Cipulus Purwakarta. The method for carrying out research on the community used by the service team is through skillful listening and involvement techniques, meaning that the researcher carries out basic observations, carries out mapping, and makes modifications to the research material by demonstrating pantomime techniques. The composition data obtained is inventoried and given feedback during the demonstration of pantomime techniques. Several stages were used in this research, including the socialization stage, the explanation stage of pantomime techniques, the adaptation stage of pantomime techniques, the demonstration stage, and the evaluation stage. Based on the service's observations, it can be concluded that the teacher's assistance in learning Arabic vocabulary uses the pantomime technique which involves educators to describe the meaning of the vocabulary through body movements which then have to be guessed by the other participants. Teacher assistance in learning Arabic vocabulary using the pantomime technique can increase learning motivation, improve understanding and mastery of vocabulary, and improve the ability to speak Arabic
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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 days, eight year-old Jeremy, the son of Reverend Cole, has fervently been looking forward to the play “Dick Whittington”, that is about to be staged in the assembly rooms of the small town of Polchester. Due to him misbehaving in the morning, he is barred from going to the show. But Uncle Samuel, unsuccessful painter and black sheep of the family, takes him along on the sly. On the gallery of the assembly rooms, Jeremy experiences his first theatre production with all his senses, a production which – despite its shortcomings – makes his world “a more magical place than it had ever been before.” […] Uncle Samuel paused at a ...
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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 berbasis augmented reality (AR) dalam bentuk pop up dalam pelatihan olah tubuh pada pantomime. Metode pengembangan yang dilakukan dalam penelitian ini adalah model pengembangan 4D (1) yang telah dimodifikasi menjadi 3D diadaptasi dari (2) meliputi: pendefinisian (define), perancangan (design), pengembangan (develop). Sampel penelitian yakni 31 siswa. Teknik pengmupulan data menggunakan wawancara, observasi, dan dokumentasi. Data yang dihasilkan akan dianalisis dengan menggunakan analisis deskriptif kualitatif. Hasil penelitian diperoleh bahwa kualitas buku ajar pantomime berbasis AR dalam bentuk pop up dari segi produk dinilai oleh masing-masing validator, hasil pada kelayakan materi dengan kategori sangat layak, pada kelayakan desain/kegrafikaan dengan kategori layak, dan dalam kelayakan media dengan kategori sangat layak. Sementara itu, hasil kualitas buku ajar pantomime berbasis augmented reality (AR) dalam bentuk pop up dari segi pengguaanya diperoleh bahwa dapat dilihat dari hasil analisis responsden pengguna buku yaitu guru dan siswa.
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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 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.
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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 theatrical success. The article calls for increased musicological attention to Nordic theatrical music, a genre that was extremely popular among early twentieth-century Nordic composers. It provided musicians with musical spaces that were more liberating than the concert hall or the opera house for the purposes of cultivating their musical language.
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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 comic aspect is put forward. In addition, it is found that harlequinade grotesque, the element of which in “Mr. Noon” is the English pantomime, is designed to build a dialogue with the literary and theatrical traditions of the past and act as a tool of authorial irony and self-irony. The scientific originality of the research lies both in the unexplored nature of the novel “Mr. Noon” in Russian literary studies (due to the fact that the novel has not been translated into Russian, none of Russian researchers have yet written about this work) and in the absence of studies devoted to harlequinade grotesque in Lawrence’s writings. This paper is the first to determine the influence of English pantomime on Lawrence and its role in the formation of the author’s grotesque, which is paramount to understanding the author’s intention.
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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 method. This research successfully developed an interactive, effective, and practical "Ku Pantomime" Android application. The results of this study are the answers to the problem of scarcity of learning media pantomime and teacher competencies in the field of Pantomime. As well as answering online learning design challenges by providing online learning media innovations at home.
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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 grouped and arranged systematically, and finally conclusions were made.The results show that the pantomime extracurricular activities conducted are routinely carried out with the aim of doing performance activities such as in monthly agenda, farewell party, and pantomime competitions. The process of implementing pantomime extracurricular activities begins with various preparation for training sites, materials, and program implementation. Pantomime extracurricular material begins by grouping students into 3 groups: high class group, low class group, and non-active group. Then, it is continued by introducing pantomime in general as well as some examples performed by the trainer. The methods used by the trainer are lecture, question and answer, peer tutoring, and demonstration.Keywords: Talent Development, Pantomime, extracurricular
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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 ‘heard’ to that of the ‘seen’ favoured by the pantomime genre.
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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 derived from commedia dell'arte, perform a series of comic scenes via mime, dance, and physical action rather than dialogue. Having been an important feature of Regency and Victorian pantomimes, by the end of the nineteenth century the harlequinade had largely vanished (with certain exceptions such as the Britannia Theatre), causing Clement Scott to lament that it is “a pleasure lost for ever and denied to the generation of to-day.” My contention is that there is a direct line of inheritance from the harlequinade through stand-alone comic ballets to chase scenes in early film. All demand a particular type of physical performance, choreographed fast-paced action, and humor. Uncovering the tradition allows us better to understand this form of popular amusement and see how Harlequin's antics were reinterpreted for new audiences. Starting from a seemingly unremarkable comic entertainment produced in 1871 at a minor London theatre, the Britannia Theatre in Hoxton, and bearing the intriguing title of Ki-Ki-Ko-Ko-Oh-Ki-Key, I trace its heritage as embodied culture, establishing its links to early nineteenth-century pantomime harlequinade and to simian performance, tracking the appearance of comic or dumb ballets in theatres and music halls in Britain, France, and the United States through one family of performers, the Lauris, and finally identifying the legacy of the complex trap work in silent film of the early twentieth century by examining Lupino Lane's Joyland (1929).
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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, original, anarchic, and fun, and that these devices are significant in the identification of British pantomime as distinct from other types of performance. Millie Taylor worked for many years as a freelance musical director in repertory and commercial theatre and in pantomime. She is now Senior Lecturer in Performing Arts and Music Theatre at the University of Winchester. An earlier version of this article was presented at the Conference on Arts and Humanities in Hawaii (2005), and an extended version will appear in her forthcoming book on British pantomime. Her research has received financial support from the British Academy.
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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 for the assassination was genuine, for it to have been plausible, Gaius’ dancing must have been the subject of much gossip and perhaps of disapproval.
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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 complicated layers at play in theorizing ballet when the era’s emphasis on the representation of nature is considered alongside the acknowledgment of the danse noble being a medium possessing inherent connotations of register.
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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 formulation, the authors use several data collection methods, including interviews, documentation, questionnaires, tests, and observations. The data analysis technique used in this study is parametric statistical analysis with the t test formula. By using the data collection method, it can be concluded that there is an influence between before applying the pantomime game and after applying the pantomime game, it can be seen from the percentage of student questionnaires stating 75.31% they agree and support the application of this game, they also think that they are easier and more confident when speaking and making muhadatsah texts after playing pantomime. The influence of the application of this pantomime game is very strong seen from the correlation result which is 0.95. As for the t test results from the application of this game is 5.482, when compared with t tables with a significant level of 0.05% which is worth 2,000. Then t count > t table. This means that Ha is accepted and Ho is rejected, or there is an increase in students' ability to speak Arabic between before and after the implementation of the mime game.
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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 task in patients and control participants as dependent variables and tasks investigating functional, mechanical, and manipulation knowledge as predictors. Results: We found that mechanical problem solving, assessing mechanical knowledge, was a good predictor of the global performance of pantomime of tool use. We also found that occurrence of conception errors was robustly predicted by the task assessing functional knowledge whereas that of production errors was not explained by only one predictor. Conclusions: Our results suggest that both functional and mechanical knowledge are important to pantomime the use of tools. To our knowledge, this is the first demonstration that mechanical knowledge plays a role in pantomime of tool use. Although impairment in pantomime of tool use tasks (i.e., apraxia) is widely explained by the disruption of manipulation knowledge, we propose that pantomime of tool use is a complex problem-solving task. (JINS, 2017, 23, 128–138)
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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 theatres, and, while their presence onstage alongside experienced pantomime performers sometimes attracted criticism, they also contributed in many ways to a reinvigoration of the medium, whether by offering fresh scope for topical gags, or by giving ambitious producers the chance to more more experimental types of production. The article also questions the notion that, by the late 1960s, pantomime had become a ‘last refuge’ for those popular musicians who were apparently unable to maintain a foothold in the increasingly ‘serious’ world of rock music. Gillian A.M. Mitchell is a Lecturer in Modern History at the University of St Andrews. This article forms part of a larger project which explores adult reactions to popular music and inter-generational relations in Britain from the 1950s to the 1970s.
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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 of learning. for the performing arts of children in elementary school is very much needed. This research method uses R&D refers to Borg and Gall's theory which has been modified into 7 research steps, namely: 1) information gathering, (2) research planning, (3) initial product design development, (4) product design validation, (5) product design revision, (6) product testing, (7) product testing results revision. The result of the research is in the form of a textbook entitled "Fun Pantomime ala Kak Prop".
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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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