The history and use of pantomime in theatrical dance from ancient greece to ballet daction
Roman pantomime definition
The scene would switch from being inside some house or castle to, generally speaking, the streets of the town with storefronts as the backdrop. The cultural and historical importance of ancient pantomime is not confined to the ancient world, since this theatrical medium had a pivotal role in the rise of ballet as an autonomous art form in the age of Enlightenment. The dancer wore also a mask with a closed mouth, elaborate hair, and large holes for the eyes as attested by archeological findings. Later in the century, the two most important eighteenth-century dance reformists, Gasparo Angiolini and Jean-Georges Noverre , repeatedly expressed in their writings the intentions to follow in the steps of ancient pantomime and their adoption of Lucian's auctoritas as the guiding principle in their productions. The performance was accompanied by a large orchestra made of wind and stringed instruments and the rhythm was maintained by the scabellum, which was operated by one of the musicians, usually the flute-player, and attached to the foot. Eventually, there was a "dark scene", such as a cave or forest, in which the lovers were caught, and Harlequin's magic wand was seized from his grasp by Clown, who would flourish it in triumph. A slapstick comedy routine may be performed, often a decorating or baking scene, with humour based on throwing messy substances. Spoken drama was allowed in London only in the two later three patent theatres until Parliament changed this restriction in The presence of slapstick in this part of the show evolved from the characters found in Italian commedia dell'arte. Each "scenario" used some of the same stock characters. Given the complex and sophisticated nature of ancient pantomime, it seems likely that the two alleged founders of the genre did not invent a completely new theatrical art form, but substantially transformed one already in existence. The dancer danced all the roles, relying on masks, stock poses and gestures and a hand-language cheironomy so complex and expressive that the pantomime's hands were commonly compared to an eloquent mouth. This convention goes back to the medieval mystery plays, where the right side of the stage symbolised Heaven and the left side symbolised Hell.
This is, in theory, over the heads of the children in the audience and is for the entertainment of the adults. The thing they fear, often a ghost, appears behind them, but at first the characters ignore the audience's warnings of danger.
Dance reforms developed in the eighteenth century took ancient Greco-Roman pantomime as the model to set against the contemporary practice of dance as an ornamental divertissement devoid of any meaning and emotional content and consisting of a sheer display of technical virtuosity.
They would transition into the new characters as the scenery around them changed and would proceed in the "zany fun" section of the performance. Spoken drama was allowed in London only in the two later three patent theatres until Parliament changed this restriction in The principal male and female characters from the beginning plotline, often both played by young women,  became the lovers Columbine and Harlequin, the mother or father of Columbine became Pantaloon, and the servant or other comic character became Clown.
The good fairy enters from stage right from the audience's point of view this is on the left and the villain enters from stage left right from the point of view of the audience. With you we shall begin. Additional information about ancient pantomime is found in the ancient writers at large and in several inscriptions and epigrams contained in the Anthologia Palatina and Latina. Dance reforms developed in the eighteenth century took ancient Greco-Roman pantomime as the model to set against the contemporary practice of dance as an ornamental divertissement devoid of any meaning and emotional content and consisting of a sheer display of technical virtuosity. Objects, too, were transformed by Harlequin's magic bat. Since then, the slapstick has been incorporated into the main body of the show. Just as the daughter is to be forcibly wed to the fop, or just as she was about to elope with her lover, the good fairy arrives. For instance "panto" versions of Aladdin may include elements from Ali Baba and the Forty Thieves or other Arabian Nights tales; while Jack and the Beanstalk might include references to nursery rhymes and other children's stories involving characters called "Jack", such as Jack and Jill. The main extant source on ancient pantomime is the dialogue On the Dance written in Greek by the Syrian rhetorician Lucian of Samosata around the middle of the second century AD.
At the same time, Harlequin began to be portrayed in a more romantic and stylised way. Harlequin was the first word or the first word after the "or" because Harlequin was initially the most important character. At least one "audience participation" song is traditional: one half of the audience may be challenged to sing "their" chorus louder than the other half.
The characters soon circle the bench, followed by the ghost, as the audience cries "It's behind you! Ancient Pantomime and its Reception Alessandra Zanobi Durham Ancient pantomime, one of the greatest attractions on the ancient stage from the end of the first century BC until the end of the sixth century AD, was a lavish and highly skilled performance in which gestures, bodily movements, words, songs, and music contributed to stir the emotions of the audience.
These included the innamorati young lovers ; the vecchi old men such as Pantalone ; and zanni servants such as ArlecchinoColombinaScaramouche and Pierrot.
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