Relevant bibliographies by topics / Pantomime

Academic literature on the topic 'Pantomime'

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Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Pantomime"

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Russon, Anne, and Kristin Andrews. "Orangutan pantomime: elaborating the message." Biology Letters 7, no. 4 (August 11, 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 (August 20, 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 (August 31, 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 (November 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 (September 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 (September 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 (June 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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Sabri, Indar, Muhammad Jazuli, Totok Sumaryanto, and Autar Abdillah. "JEMEK SUPARDI, MIME ARTIST INDONESIA (A Study of Life History)." Humanus 18, no. 1 (May 22, 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 (December 31, 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 (October 1, 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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Dissertations / Theses on the topic "Pantomime"

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LANGHANS, JOSEPH JOHN III. "PANTOMIME RECOGNITION AND PANTOMIME EXPRESSION IN PERSONS WITH ALZHEIMER'S DISEASE." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188005.

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There are few, yet contradictory, reports in the literature regarding whether persons with Alzheimer's disease demonstrate a disturbance of nonverbal communication or pantomime. While some researchers ascribe all disturbances of gestural behavior to apraxic phenomena, others have viewed a disturbance of pantomime as the consequence of language disorder or general intellectual deterioration. This investigation was conducted (1) to determine whether persons with Alzheimer's disease demonstrate a disturbance of pantomime recognition, pantomime expression, or both, compared to healthy, aged controls; (2) to determine the relation of performance on measures of pantomime recognition and pantomime expression to performance on measures of cognition/intelligence, language, and praxis in Alzheimer subjects; (3) to determine whether Alzheimer subjects improve pantomimic expressive performance on imitation of the examiner; and (4) to determine whether a statistically significant difference in pantomimic expressive performance between Alzheimer and control subjects is also a clinically obvious difference. Forty-five subjects (30 subjects with Alzheimer's disease and 15 healthy, aged controls) were administered measures of pantomime recognition, pantomime expression, cognition/intelligence, language, and praxis. In addition, 13 graduate students in speech-language pathology viewed and judged as being "normal" or "abnormal" 15 expressive pantomimes performed by 10 Alzheimer and 5 control subjects. Results indicated that there was a significant difference between groups in performance on both pantomime measures; the Alzheimer subjects performed less well than controls. The performance of Alzheimer subjects on both pantomime measures was also more closely related to performance on measures of language and cognition/intelligence than to praxis. Alzheimer subjects improved pantomimic expressive performance on imitation of the examiner, to the extent that between groups performance no longer differed significantly. Finally, graduate student judges rated the pantomimic expressive performance of Alzheimer subjects as being "abnormal" significantly more often than the pantomimic expressive performance of controls. Because the pantomime variables were related to both the language and cognition/intelligence variables, and the language and cognition/intelligence variables were related to one another, it was concluded that these variables were functionally interdependent, and therefore, these results for this sample conformed with central mechanism explanations for a disturbance of pantomime.
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Zanobi, Alessandra. "Seneca's tragedies and the aesthetics of pantomime." Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2158/.

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In this thesis I explore the affinities between Seneca's tragic plays and pantomime, arguably the most popular dramatic genre during the Roman Empire, but relatively neglected by literary critics. The research is thus designed to make not only a significant contribution to our understanding of Seneca's tragic art (especially through the explanation of formal features that depart from the conventions of fifth-century Attic drama and have long puzzled scholars), but also to Imperial performance culture more generally. In particular, I hope to shed light on the interaction between so-called 'high’ and 'low' forms of artistic endeavours at the time, which previous scholarship has tended to overlook.
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Scaggs, Deirdre A. "Deirdre A. Scaggs Pantomime: a personal research." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1328209049.

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Brincken, Jörg von. "Tours de force : die Ästhetik des Grotesken in der französischen Pantomine des 19. Jahrhunderts /." Tübingen : M. Niemeyer, 2006. http://catalogue.bnf.fr/ark:/12148/cb402084225.

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Martinez, Ariane. "La pantomime, théâtre en mineur : étude des expériences pantomimiques (drames, spectacles, traités) dans le théâtre français, de la fin de siècle à 1945." Paris 3, 2006. http://www.theses.fr/2006PA030140.

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Entre 1880 et 1945, les créateurs de théâtre recourent à la pantomime pour transformer l’écriture dramatique, le jeu d’acteur et la conception du spectacle. Les pièces muettes (écrites par Margueritte, Huysmans et Hennique, Champsaur ou Gourmont) se multiplient à la fin du XIXe siècle. Symptomatiques d’une « crise du drame » (Szondi) et d’une « crise du geste » (Agamben), elles stimulent la mise en scène naissante, notamment au sein du Cercle Funambulesque. Dans le domaine du jeu mimé, deux courants majeurs s’affrontent : d’une part, les mimes logocentristes, qui recherchent une gestuelle codifiée et calquée sur l’ordre du langage (Séverin, Hacks, Aubert), d’autre part les mimes expressifs qui privilégient l’attitude et le regard (Wague, Colette, Farina). Mise à mal par l’avènement du mime corporel (fondé par Decroux assisté de Barrault), la pantomime n’en a pas moins constitué un pas décisif pour penser le rythme et l’image scéniques (chez Claudel, Cocteau, Artaud ou Vitrac)
Between 1880 and 1945, theatre creators resort to pantomime to transform dramatic writing, acting and staging. Silent plays (written by Margueritte, Huysmans and Hennique, Champsaur or Gourmont) multiply at the end of the 19th century. As they reveal a « crisis of drama » (Szondi) and a « crisis of gesture » (Agamben), they stimulate the emerging theatre production (at the Cercle funambulesque in particular). As far as miming is concerned, two major trends compete. On the one hand, logocentrist mimes look for codified body movements modeled on language (Séverin, Hacks, Aubert). On the other hand, expressive mimes concentrate on attitude and look (Wague, Colette, Farina). Harmed by the advent of corporeal mime (founded by Decroux assisted by Barrault), pantomime nevertheless represented a major step in the design of stage rhythm and theatrical image (in Claudel, Cocteau, Artaud or Vitrac’s plays)
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Sullivan, Jill Alexandra. "The business of pantomime : regional productions 1865 to 1892." Thesis, University of Nottingham, 2005. http://eprints.nottingham.ac.uk/11078/.

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Whilst in recent years the study of nineteenth-century popular theatre and culture has expanded into the music hall, fairgrounds and 'minor' theatres, embracing melodrama and spectacle, the Victorian pantomime has attracted little attention. More especially, the widespread and dynamic productions of the English provincial theatres have been largely excluded in discussions that repeatedly focus on the London stage. My thesis is centred on the Theatres Royal of Nottingham and Birmingham, two towns sited in the English Midlands, but with markedly different population sizes, socioeconomic structures and national status. My argument, however, is not predicated on comparison but rather on siting the pantomimes within the very specific local contexts of each town. The relationship between the pantomime and the town engages with a notion of audience, identifiable through textual and promotional materials. The argument in my thesis moves from an overview of production styles at the two theatres to a specific analysis of the financing and promotion of the pantomime at Nottingham in the mid- 1860s. Using extant financial records, I have established how the pantomime was produced in times of local hardship, and how a production affected by low expenditure and failing revenue was promoted to its potential audiences. The emphases of advertising and the promotional techniques engaged by the theatre managements, together with those of the local newspapers also enable a reassessment of the role of the pantomime author. The traditional understanding of authorship as related to ownership of the text is reconsidered in relation to the role the pantomime author played in the promotion of the production, and his real and construed relationship to the theatre and town for which he was writing. Moreover, the available empirical evidence has served to foreground the pantomime text as an expression of local concerns and political interests that were particular to each town and displayed an acute awareness of issues of regional identity and status.
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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." Thesis, The University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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Doctor of Philosophy
'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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Kallemeyn, Rebecca. "ESCAPIST CATHARSIS: REPRESENTATION, OBJECTIFICATION, AND PARODY ON THE PANTOMIME STAGE." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211920375.

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

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Books on the topic "Pantomime"

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Feder, Happy Jack. Mime time: 45 complete routines for everyone. 2nd ed. Colorado Springs, Colo: Meriwether Pub., 1992.

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Markova, Elena. Sovremennai͡a︡ zarubezhnai͡a︡ pantomima =: La mime. Moskva: "Iskusstvo", 1985.

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Davis, Jim, ed. Victorian Pantomime. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230291782.

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Basyūnī, Hibah. Bāntūmāyim: Pantomime. al-Muhandisīn [Giza]: Kiyān Kūrb lil-Nashr wa-al-Tawzīʻ, Dār Laylá, 2012.

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Zwiefka, Hans Jürgen. Pantomime, Ausdruck, Bewegung. Moers: Edition Aragon, 1987.

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Cregan, David. Aladdin: A pantomime. London: S. French, 1993.

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Eigner, Edwin M. The Dickens pantomime. Berkeley: University of California Press, 1989.

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S, Aldridge D., ed. The pantomime witch. London: MacRae, 1990.

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Allen, Ian. Button moon pantomime. London: Hippo Books, 1991.

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Szymanowski, Karol. Harnasie: Ballet pantomime. [Poland]: Polskie Nagrania, 1993.

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Book chapters on the topic "Pantomime"

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Brown, Steven. "Chapter 6. The pantomimic origins of the narrative arts." In Perspectives on Pantomime, 139–58. Amsterdam: John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/ais.12.06bro.

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The evolutionary study of pantomime provides important insights into the origins of the narrative arts, including visual art, theatre, and narrative forms of dance (e.g., ballet). Drawing, as a motoric activity, shows a strong resemblance to tracing pantomimes. The main difference is that drawing generates an enduring image on a surface, whereas pantomime is “drawing in the air.” The theatrical arts – including dramatic acting, mime acting, and narrative forms of dance – take a more egocentric approach to pantomime than drawing, employing full-body mimicry of the expressive actions of a referent person. Overall, iconic gesturing through pantomime provides an evolutionary foundation for all of the narrative arts. On the flip side, a consideration of the narrative arts themselves provides many new avenues for the exploration of pantomime, including shedding light on gestural models of the origins of language.
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Arbib, Michael. "Chapter 1. Pantomime within and beyond the evolution of language." In Perspectives on Pantomime, 16–57. Amsterdam: John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/ais.12.01arb.

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The core of the paper is a critique of the role of pantomime in the author’s theory (the Mirror System Hypothesis, MSH, itself evolving) of the biocultural evolution that led to human brains that were “language ready” long before humans developed languages. We argue that the notion of “ad hoc” pantomime posited there should be modified to a notion of “ur-pantomime” in which pantomimes are somewhat ritualized by individual users but not yet conventionalized by the group. We extend this to offer a taxonomy of pantomime, with the above forms distinguished from both pantomime exhibited by apes and theatrical pantomime. Complex action recognition and imitation play a crucial role in MSH, as well as conventionalization of pantomime to “protosigns” as possible stepping stones to protolanguage. Pantomimes can also emphasize flexible trajectories to indicate the ways in which an action might vary depending on the current affordances of objects. Both features are shown to be helpful in pedagogy, but are not restricted to this domain. Trajectory variation may be the underpinning of present-day cospeech gestures. We then turn to a hypothesis on the cultural evolution whereby protolanguages became languages through the emergence of a broader lexicon and a grammar comprised of diverse constructions supporting a compositional syntax. Noting that MSH has focused on the emerging structure of single utterances, we assess how MSH may be modified to incorporate an account of the emergence of narrative. Finally, we assess to what extent mindreading, navigation in space, and navigation in time are to be added to the capabilities of the language-ready brain, while insisting that their form in modern humans results from an expanding spiral linked with capacities for language and narrative through cultural evolution.
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Nuss, Melynda. "Pantomime." In Distance, Theatre, and the Public Voice, 1750–1850, 13–32. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137291417_2.

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

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "Pantomime." In Literary and Cultural Criticism from the Nineteenth Century, 187–219. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-36.

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Marsden, Robert. "Pantomime." In Routledge Companion to Audiences and the Performing Arts, 477–83. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003033226-43.

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Ferretti, Francesco. "Chapter 3. Narrative and pantomime at the origin of language." In Perspectives on Pantomime, 78–99. Amsterdam: John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/ais.12.03fer.

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The present chapter proposes a pantomimic account of language origin resting on a persuasive/narrative conception of human communication. Relying on the twofold constraint of the cognitive architectures responsible for the processing of the mental content and of the material resources for expressing that content, I suggest that pantomime represented an ideal means to convey proto-narrative representations in the absence of verbal language. Although representing an early effective form of protolanguage because of its narrative persuasive power, pantomime shows its limits in sustaining a more sophisticated type of communication characterizing face-to-face conversation. In this context, the need to engage in an arguing-counterarguing dialectics might have created new selective pressures towards complex syntactic structures able to support argumentative forms of persuasion.
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Ficek, Agnieszka Anna. "Colonial Pantomime." In Women, Collecting, and Cultures Beyond Europe, 129–45. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003230809-12.

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Davis, Jim. "Introduction: Victorian Pantomime." In Victorian Pantomime, 1–18. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230291782_1.

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Sullivan, Jill A. "‘Local and political hits’: Allusion and Collusion in the Local Pantomime." In Victorian Pantomime, 155–69. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230291782_10.

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Conference papers on the topic "Pantomime"

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Sabri, Indar, Muhammad Jazuli, Totok F, and Autar Abdillah. "Teaching system for pantomime artist Jemek Supardi for prospective Pantomime artists in Yogyakarta." In Proceedings of the 5th International Conference on Science, Education and Technology, ISET 2019, 29th June 2019, Semarang, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.29-6-2019.2290417.

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Козлова, Наталья Николаевна. "CORRECTION AND SPEECH THERAPY WORK ON THE DEVELOPMENT OF VERBAL VOCABULARY IN PRESCHOOL CHILDREN WITH HEARING DISORDERS THROUGH PANTOMIME." In Поколение будущего: сборник избранных статей Международной студенческой научной конференции (Санкт-Петербург, Ноябрь 2020). Crossref, 2020. http://dx.doi.org/10.37539/pb188.2020.70.45.004.

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В статье рассматривается особенности организации и содержания коррекционно-логопедической работы по развитию глагольного словаря у дошкольников с нарушениями слуха посредством пантомимики. Описываются принципы, условия и этапы коррекционно-логопедической работы. Приводятся примеры пантомимических этюдов, которые могут быть использованы в работе с дошкольниками на разных этапах. The article examines the features of the organization and content of correction and speech therapy work on the development of the verbal vocabulary in preschool children with hearing disorders through pantomime. the principles, conditions and stages of correction and speech therapy work are described. examples of pantomimic sketches that can be used in work with preschool children at different stages are given.
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Viyas, T. Vedha, R. Willbert Baskar, N. Simrose Gabriel, and A. Sanjive. "Hand pantomime apperception for robotic arm control." In 2017 International Conference of Electronics, Communication and Aerospace Technology (ICECA). IEEE, 2017. http://dx.doi.org/10.1109/iceca.2017.8212777.

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Pavlov, Vladimir L., and Anton Yatsenko. "Using Pantomime in Teaching OOA&OOD with UML." In Proceedings. 18th Conference on Software Engineering Education & Training. IEEE, 2005. http://dx.doi.org/10.1109/cseet.2005.41.

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Segal, Barbara. "The Contribution of Dance and Pantomime to London’s Musical Culture." In Musik und die Künste in der englischen Frühaufklärung (ca. 1670–1750). Universität Hamburg, Institut für Historische Musikwissenschaft, 2020. http://dx.doi.org/10.25366/2020.121.

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Pavlov, Vladimir L., Nikita Boyko, Alexander Babich, Oleksii Kuchaiev, and Stanislav Busygin. "Applying pantomime and reverse engineering techniques in software engineering education." In 2007 37th annual frontiers in education conference - global engineering: knowledge without borders, opportunities without passports. IEEE, 2007. http://dx.doi.org/10.1109/fie.2007.4418054.

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Cartmill, Erica. "Iconicity and convention in the manual modality: Pantomime in language origins." In The Evolution of Language. Proceedings of the 12th International Conference on the Evolution of Language (Evolang12). Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika, 2018. http://dx.doi.org/10.12775/3991-1.014.

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Tsvetkov, Yuri. "HUGO VON HOFMANNSTHAL ABOUT THE REVIVAL OF ANCIENT PANTOMIME AS A SYNTHETIC ART." In World literature Cultural Codes. Baskir State University, 2021. http://dx.doi.org/10.33184/kkml-2021-11-19.23.

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CARTMILL, ERICA A., and SUSAN GOLDIN-MEADOW. "IS PANTOMIME A LIKELY STAGE IN LANGUAGE EVOLUTION? EVIDENCE FROM HUMAN AND PRIMATE GESTURE." In Proceedings of the 9th International Conference (EVOLANG9). WORLD SCIENTIFIC, 2012. http://dx.doi.org/10.1142/9789814401500_0059.

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Evdokimova, Alexandra, Yulia Nikolaeva, and Evgeniya Budennaya. "Motion verbs in multimodal communication." In Dialogue. RSUH, 2022. http://dx.doi.org/10.28995/2075-7182-2022-21-159-175.

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The article explores correlations between motion verbs and head and hands gestures using the RUPEX corpus. The verbs are divided into four groups based on their meanings. Мonological and dialogical parts of the recordings are compared along with the speaker’s role and viewpoint in gestures. The pilot analysis of motion verbs in the multimodal corpus showed that the relationships between verb type, non-verbal behavior and speaker’s role depend on a complex set of factors and manifests itself in different ways in different channels. In the verbal channel no direct relationship between the semantic type of the verb and the speaker’s role was detected; however, the narrators and commentators who have seen the film used more affectional vocabulary than the reteller while the latter tended to use more vector-prefixed verbs. In manual channel рrefixes or their absence do not influence the use of hand gestures. Transitive verbs meaning manipulations of different items are more probable to be illustrated by depictive gestures. Predictably, motion verbs in the strict sense are more prone to be supported by observer viewpoint (O-VPT) gestures, while verbs of manipulation are usually used with C-VPT gestures. In cephalic channel motion verbs in the strict sense (relocation of a character) are usually illustrated by O-VPT depictive gestures, and manipulation verbs are more probably supported by pantomime C-VPT gestures similar to manual channel. In some head gestures the viewpoint is combined. If the verb is repeated by the same or another speaker the gestures differ in both manual and cephalic channels. Cephalic gesture clusters on motion verbs have mostly a depictive function, which may be considered a gestural illustration.
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Reports on the topic "Pantomime"

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Grotting, Lauryl. Effects of verbal and pantomime stimulus input on the short term sequential recall of aphasic adults. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2263.

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Ramos Arteaga, José Antonio. El carnaval de los señores: máscaras, pantomimas musicales y mojigangas en el archivo Zárate-Cólogan. Edicions de la Universitat de Lleida, 2019. http://dx.doi.org/10.21001/scriptura.2019.26.05.

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