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The History of the art form of pantomime
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This paper is about pantomime, about it’s origin, it’s people, how it has evolved, and how wonderful it is. Pantomime is a dramatic performance in which a story is told or a theme developed through expressive bodily or facial movement. The origin of pantomime can be traced back to classical farce and the Italian Commedia Dell’arte.
Not all pantomime is silent. The completely silent performance of pantomime was invented in Rome.
Pantomime is sometimes used to worship. Mime is a short way of saying pantomime and also means someone who performs pantomime. A mime, if performing on the streets, will have a hat that is passed around for spectators to put money in. When doing pantomime, it should be noted that the imaginative performance skills are illusion and illustration. Also, you should “cultivate an understanding of the role that the body plays in suggesting an idea, an impression, a sensation, or a character.” Pantomime can be done solo, or in a group of any size. Before performing, a mime must do warm-up and relaxation exercises. Miming takes mental and physical strength. Perfect coordination of all parts of the body is essential for expressive movement and graceful poise in pantomime. A good mime must be very flexible. You must be fluid at changing posture to create a character. Facial expression changes everything while performing pantomime. You must be very relaxed when doing pantomime. People speak different languages, but most gestures mean the same thing. Animals, insects especially, have probably done pantomime before humans were even alive. For example, bees do pantomime when telling others where nectar is, and peacocks use pantomime to impress a mate. Prehistoric man was next, after animals, to do pantomime. Prehistoric men would do pantomime to try to influence nature to let them get a kill while hunting.
Before language, prehistoric men told about a hunt with pantomime. Prehistoric men would use pantomime to tell the history of the tribe. A clown named Grock became a very successful mime. He started as an acrobatic clown at a very young age. Grock became famous because he succeeded in the circus and in the music hall. After years of successfully performing in circuses, he tried his clown routine in a theater in Berlin. Grock began to move away from broad comedy in the Grimaldi tradition, and towards
Debureu’s type of performance. In his first performance in a theater, the audience did not respond. Grock realized that the type of performance required for the theater is different than that required by the circus. Grock began to use a clown as a pantomime character whose actions comment on life. Grock went on to become one of the greatest
Throughout the years, America has pursued the performing arts in a large variety of ways. Theatre plays a dramatic and major role in the arts of our society today, and it takes great effort in all aspects. Musical Theatre, specifically, involves a concentration and strength in dance, acting, and singing. This is the base that Musical Theatre is built upon. For my Senior Project, I helped choreograph multiple scenes in a community musical “Thoroughly Modern Millie”. Choreography is a way of expressing oneself, but it has not always been thought of for that purpose. Agnes de Mille’s expressive talent has drastically affected how people see choreography today. Agnes de Mille’s influence in the world of dance has left a lasting impact in the Performing Arts Department, and her revolutionary works are still known today for their wit, lyricism, emotion, and charm.
The Nutcracker is a magical story with many versions, including plays, ballets, stories, and movies. They might be different in ways, but the plot remains the same in all of them. In The Nutcracker, Clara, the main character, gets a nutcracker doll from her Uncle Drosselmeyer, also her godfather, her brother Fritz in some stories takes the doll and breaks it. In the end of all of them The Nutcracker turns out to be a prince, he and Clara dance in the Kingdom of Sweets, along with the sugar plum fairy, gumdrop people, and other candy people. The orgianal story
a vaudevillian and appropriately enough was born into the theatre. As a child, the art of
Since theatre was established as an art form, it has constantly been changing and developing as new methods of theatre styles came to light. This is also true with how musical theatre developed into how we know it today. Vaudeville and burlesque were forms of theatre in the late 1800’s and early 1900’s that forged the way for the American musical to emerge. The elements that writers used from vaudeville allowed for not just musical acts to be performed during the course of the story, but eventually became a way for the story to further be told. The American musical was not always as big as it is today, and vaudeville and burlesque acts made it possible for such a type of performance style to develop. Musical writers used multiple elements, not just the song element, in their stories. This change did not just happen overnight. The evolution from vaudeville and burlesque was a gradual one, taking years to further develop the performance styles into the Broadway musical we can see today.
The circular area in the middle of the theatre is called the orchestra. The music of the orchestra. In ancient Greek times this area would have been used for dancing and where the ‘chorus’ would sing and perform. A ‘chorus’ was. a group of people who would play a major part in ancient plays often describing scenes much like a modern narrator.
Devised theatre began when playwrights such as Peter Brook and Jerzy Grotowski were experimenting with the idea of the performer as the creative artist in their own right, which was a somewhat radical idea, considering that theatre has been centered around what the director wants since the origins of theatre as an art form. This theatre form was one of the first forms that allowed the actor to be an active part of the creation of their art. ...
Through hundreds of productions of The Nutcracker, that have thrilled several crowds, audiences have experienced the fear from oversized mice and the thrill of the Land of Sweets. Written by Tchaikovsky, The Nutcracker is danced around Christmas annually. The Nutcracker was inspired by and based on E.T.A. Hoffmann’s novel, The Nutcracker and the Mouse King (“The Story of the Nutcracker Ballet”). A girl named Clara receives a nutcracker as a Christmas present who comes to life to fight the Mouse King. Clara journeys through the Land of Sweets as audiences are mesmerized by the dancers with the extravagant, flamboyant, exaggerated, and bizarre costumes, props, and heavy make-up perform the famous piece. But why has this ballet maintained its mass appeal since its first performance in 1892? Perhaps it is because in an effort to outstage previous performances, directors continue to integrate elements of expressionism like plot distortion and stylized acting to create a fantasy world.
In Shakespeare’s Twelfth Night and in Molière’s The Imaginary Invalid, two ladies are presented, that are not necessarily the leading protagonist, but they help unravel the plays’ plots into something amazing. Twelfth Night features Maria, the lady in waiting to Olivia. At first Maria comes off as a dilettante, later on we find out that’s not the case at all. Meanwhile, in The Imaginary Invalid, there is the disputatious Toinette, who is the maidservant and nurse to the imaginary invalid himself, Argan. Maria and Toinette are two strong women characters, their strength and wit is depicted through Maria and Toinette’s deceiving schemes to make their plays more stimulating as well as their objectivity throughout all the chaos in their respective play.
Through providing a micro-level analysis of the “self” through theatrical dramaturgy, Goffman supplies an adequate account of how modification of the “self” happens via performance. Taking parallel theories and ideas, each author builds upon the arguments of the other and Goffman provides enough detailed examples of social development through performance to satisfy the treatises of Berger and Luckmann’s account. Therefore, the arguments of Goffman and Berger and Luckmann work best when combined, giving us the most insight into the “self.”
Perhaps the most straightforward aspect of the way Feste communicates with other characters that resembles the communication of theater itself is the overtly performative nature of his character. A clown, Feste is often portrayed in productions caked in elaborate makeup or in a fancy jester costume. In this sense, he is almost a caricature of the way actors don new ident...
The fairies and the fairy realm have many responsibilities in this play. The most important of which is that they are the cause of much of the conflict and comedy within this story. They represent mischievousness and pleasantry which gives the play most of its emotion and feeling. They relate to humans because they make mistakes but differ in the fact that they do not understand the human world.
Elizabethan times in the 1600s was a progression for the world of the theater. A period named after Queen Elizabeth I of England, it is from this period that modern day society has its foundation for the entertainment industry. From the violence that was prevalent because of the Black Death, people turned to the theater for its poetry and romance. During this time period, there were two types of theatrical performances that were available for the people’s viewing, comedies or tragedies. These two genres were never really intertwined until the time of William Shakespeare. His play, Romeo and Juliet, is an example of both a comedy and a tragedy. It starts off as a comedy with Romeo weeping like a baby because of his love Rosaline, who did not love him back and ends as a tragedy when Romeo and Juliet, a pair of star crossed lovers, commit suicide because the lost of each other. It was also during Shakespeare’s time that writer were finally acknowledged by the people. Before this time, writers were not considered upper classman. Another group of people that began to rise into a higher social class were the actors. Actresses were not present back then because women were not allowed on stage. It was considered unladylike to have a female actor. Men played all the parts. Theater owners were dependent on actors to make them a profit. Rehearsals for the plays were fairly short, only lasting for about a week. The performances themselves would only show for three to four days.
Anger can be partly physiological, cognitive, and psychological, and it is also pointedly ideological. Factors such as race, class, gender, sexuality, ethnicity, nation, and religion arouse anger (Kim1). Goldhor-lerner stated that:
A mere mention of the term theatre acts as a relief to many people. It is in this place that a m...
Theater of the Absurd applies to a group of plays with a certain set of characteristics. These characteristics convey a sense of bewilderment, anxiety, and wonder in the face of an unexplainable feeling. These plays all have unusual actions and are missing a key element that would clearly define other pieces of literature. Language and actions differ from the usual and sometimes cannot be explained in the Theater of the Absurd. In the works of Albee and Ionesco language, behavior, and structure are abnormal if compared to other plays. Language is a key factor that is presented as a weak form of communication throughout “The Future is in Eggs,” “The Zoo Story,” “The American Dream,” and “The Leader.”