Pantomime Was Developed as a High Art in Film by

Genre of musical one-act stage product

Pantomime (;^[1] informally panto)^[two] is a type of musical comedy stage production designed for family unit entertainment. It was adult in England and is performed throughout the United Kingdom, Ireland and (to a lesser extent) in other English-speaking countries, particularly during the Christmas and New year's day season. Modernistic pantomime includes songs, gags, slapstick one-act and dancing. It employs gender-crossing actors and combines topical humour with a story more or less based on a well-known fairy tale, fable or folk tale.^{[3] [iv]} Pantomime is a participatory grade of theatre, in which the audience is encouraged and expected to sing along with certain parts of the music and shout out phrases to the performers.

Pantomime has a long theatrical history in Western civilization dating back to classical theatre. It developed partly from the 16th century commedia dell'arte tradition of Italy and other European and British stage traditions, such as 17th-century masques and music hall.^[3] An important part of the pantomime, until the late 19th century, was the harlequinade.^[5]

Outside U.k., the give-and-take "pantomime" is oft understood to mean miming, rather than the theatrical form described here.^[6]

Rome [edit]

2d-century Macedonian theatrical sculpture, idea to represent a pantomime'southward mask

The word pantomime was adopted from the Latin word pantomimus,^[seven] which in turn derives from the Greek word παντόμιμος (pantomimos), consisting of παντο- (panto-) meaning "all", and μῖμος (mimos), meaning a dancer who acted all the roles or all the story.^{[8] [9] [ten]} The Roman pantomime drew upon the Greek tragedy and other Greek genres from its inception, although the fine art was instituted in Rome and fiddling is known of it in pre-Roman Greece.^{[11] [12]} The English word came to be practical to the operation itself.^{[ commendation needed ]} Co-ordinate to a lost oration by Aelius Aristides, the pantomime was known for its erotic content and the effeminacy of its dancing;^[13] Aristides's work was responded to past Libanius, in his oration "On Behalf of the Dancers", written probably effectually 361 Advert.^{[ citation needed ]}

Roman pantomime was a production, commonly based upon myth or legend, for a solo male dancer—clad in a long silk tunic and a curt mantle (pallium) that was frequently used as a "prop"—accompanied past a sung libretto (called the fabula saltica or "trip the light fantastic toe-story") rendered by a vocalizer or chorus (though Lucian states that originally the pantomime himself was the vocalist).^[14] Music was supplied by flute and the pulse of an iron-shod shoe chosen a scabellum. Performances might be in a individual household, with minimal personnel, or else lavish theatrical productions involving a big orchestra and chorus and sometimes an ancillary actor. 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.^[15] Pantomime differed from mime by its more creative nature and relative lack of farce and fibroid humour,^[9] though these were not absent from some productions.^{[ commendation needed ]}

Roman pantomime was immensely popular from the end of the beginning century BC until the stop of the sixth century AD,^[xv] a class of entertainment that spread throughout the empire where, because of its wordless nature, it did more than whatever other art to foster knowledge of the myths and Roman legends that formed its subject-affair – tales such equally those of the love of Venus and Mars and of Dido and Aeneas – while in Italy its chief exponents were celebrities, often the protegés of influential citizens, whose followers wore badges proclaiming their allegiance and engaged in street-fights with rival groups, while its accompanying songs became widely known.^{[ failed verification ]} Yet, because of the limits imposed upon Roman citizens' trip the light fantastic, the populism of its song-texts and other factors, the fine art was as much despised as adored,^[15] and its practitioners were ordinarily slaves or freedmen.^{[ citation needed ]}

Because of the low status and the disappearance of its libretti, the Roman pantomime received little modernistic scholarly attention until the late 20th century, despite its great influence upon Roman culture every bit perceived in Roman art, in statues of famous dancers, graffiti, objects and literature.^[8] Afterward the renaissance of classical civilisation, Roman pantomime was a decisive influence upon modern European concert dance, helping to transform ballet from a mere entertainment, a display of technical virtuosity, into the dramatic ballet d'activeness. It became an antecedent which, through writers and ballet-masters of the 17th and 18th centuries such as Claude-François Ménestrier (1631–1705), John Weaver (1673–1760), Jean-Georges Noverre (1727–1810) and Gasparo Angiolini (1731–1803), earned it respectability and attested to the capability of trip the light fantastic to render complex stories and limited homo emotion.^[xv]

Development in Britain [edit]

In the Eye Ages, the Mummers Play was a traditional English folk play, based loosely on the Saint George and the Dragon legend, normally performed during Christmas gatherings, which contained the origin of many of the archetypal elements of the pantomime, such equally stage fights, fibroid humor and fantastic creatures,^[sixteen] gender role reversal, and good defeating evil.^[17] Precursors of pantomime besides included the masque, which grew in pomp and spectacle from the 15th to the 17th centuries.^{[3] [eighteen]}

Commedia dell'arte and early English accommodation [edit]

The development of English pantomime was also strongly influenced past the continental commedia dell'arte, a course of popular theatre that arose in Italy in the Early on Modernistic Flow. This was a "comedy of professional artists" travelling from province to province in Italy and then France, who improvised and told comic stories that held lessons for the crowd, changing the main graphic symbol depending on where they were performing. Each "scenario" used some of the aforementioned stock characters. These included the innamorati (immature lovers); the vecchi (quondam men) such as Pantalone; and zanni (servants) such every bit Arlecchino, Colombina, Scaramouche and Pierrot.^{[3] [xix] [twenty]} Italian masque performances in the 17th century sometimes included the Harlequin grapheme.^[21]

In the 17th century, adaptations of the commedia characters became familiar in English entertainments.^[22] From these, the standard English harlequinade developed, depicting the eloping lovers Harlequin and Columbine, pursued past the girl'southward father Pantaloon and his comic servants Clown and Pierrot.^{[22] [23]} In English versions, by the 18th century, Harlequin became the central effigy and romantic atomic number 82.^[24] The basic plot of the harlequinade remained substantially the same for more than 150 years, except that a bumbling policeman was added to the hunt.^[22]

In the showtime two decades of the 18th century, ii rival London theatres, Lincoln's Inn Fields Theatre and the Theatre Regal, Drury Lane (the patent theatres) presented productions that began seriously with classical stories that contained elements of opera and ballet and ended with a comic "night scene". Tavern Bilkers, past John Weaver, the dancing master at Drury Lane, is cited as the get-go pantomime produced on the English stage.^[25] This production was not a success, and Weaver waited until 1716 to produce his next pantomimes, including The Loves of Mars and Venus – a new Entertainment in Dancing afterwards the manner of the Antient Pantomimes.^[nineteen] The same year he produced a pantomime on the field of study of Perseus and Andromeda. Later on this, pantomime was regular feature at Drury Lane.^[26] In 1717 at Lincoln's Inn, thespian and manager John Rich introduced Harlequin into the theatres' pantomimes under the proper noun of "Lun" (for "lunatic").^{[27] [28]} He gained great popularity for his pantomimes, peculiarly beginning with his 1724 product of The Necromancer; or, History of Dr. Faustus.^[29]

These early pantomimes were silent, or "dumb prove", performances consisting of only dancing and gestures. Spoken drama was immune in London simply in the two (later three) patent theatres until Parliament changed this restriction in 1843.^[xxx] A large number of French performers played in London post-obit the suppression of unlicensed theatres in Paris.^[19] Although this constraint was only temporary, English pantomimes remained primarily visual for some decades before dialogue was introduced. An 18th-century author wrote of David Garrick: "He formed a kind of harlequinade, very different from that which is seen at the Opéra-Comique in Paris, where harlequin and all the characters speak."^[31] The majority of these early pantomimes were re-tellings of a story from ancient Greek or Roman literature, with a suspension between the two acts during which the harlequinade'southward zany comic business was performed. The theatre historian David Mayer explains the utilize of the "batte" or slapstick and the transformation scene that led to the harlequinade:

Rich gave his Harlequin the ability to create stage magic in league with offstage craftsmen who operated flim-flam scenery. Armed with a magic sword or bat (actually a slapstick), Rich's Harlequin treated his weapon equally a wand, striking the scenery to sustain the illusion of changing the setting from one locale to another. Objects, too, were transformed by Harlequin's magic bat.^[19]

Playbill of an English circus and pantomime performance, 1803

Pantomime gradually became more topical and comic, often involving spectacular and elaborate theatrical effects as far as possible. Colley Cibber, David Garrick and others competed with Rich and produced their own pantomimes, and pantomime continued to abound in popularity.^[32]

1806–1836 [edit]

By the early on 1800s, the pantomime'south classical stories were often supplanted past stories adapted from European fairy tales, fables, folk tales, classic English language literature or nursery rhymes.^{[xix] [33]} Also, the harlequinade grew in importance until it often was the longest and most important part of the entertainment. Pantomimes usually had dual titles that gave an frequently humorous idea of both the pantomime story and the harlequinade. "Harlequin and ________", or "Harlequin _______; or, the ________". In the 2d instance, harlequin was used as an adjective, followed past words that described the pantomime "opening", for example: Harlequin Erect Robin and Jenny Wren; or, Fortunatus and the H2o of Life, the 3 Bears, the Three Gifts, the Three Wishes, and the Piddling Human being who Woo'd the Little Maid. Harlequin was the starting time word (or the first discussion afterwards the "or") because Harlequin was initially the most important character. The titles continued to include the word Harlequin even after the first decade of the 1800s, when Joseph Grimaldi came to dominate London pantomime and made the character, Clown, a colourful agent of chaos, as of import in the entertainment as Harlequin. At the same time, Harlequin began to be portrayed in a more romantic and stylised way.^[34]

Grimaldi's performances elevated the role by "acute observation upon the foibles and absurdities of gild, and his happy talent of belongings them up to ridicule. He is the finest applied satyrist that ever existed. ... He was so extravagantly natural, that the most saturnine looker-on acknowledged his sway; and neither the wise, the proud, or the off-white, the young nor the old, were ashamed to laugh till tears coursed downward their cheeks at Joe and his comicalities."^[35] Grimaldi'south performances were important in expanding the importance of the harlequinade until information technology dominated the pantomime entertainment.^[36]

By the 1800s, therefore, children went to the theatre around the Christmas and New Year holiday (and oftentimes at Easter or other times) primarily to witness the craziness of the harlequinade chase scene. It was the most exciting part of the "panto", considering it was fast-paced and included spectacular scenic magic also as slapstick comedy, dancing and acrobatics. The presence of slapstick in this part of the show evolved from the characters institute in Italian commedia dell'arte.^[xix] The plot of the harlequinade was relatively simple; the star-crossed lovers, Harlequin and Columbine, run away from Columbine'southward foolish begetter, Pantaloon, who is existence slowed down in his pursuit of them by his servant, Clown, and past a bumbling policeman. Later the fourth dimension of Grimaldi, Clown became the principal schemer trying to thwart the lovers, and Pantaloon was only his assistant.^[36]

The opening "fairy story" was frequently blended with a story nearly a love triangle: a "cantankerous-grained" erstwhile father who owns a concern and whose pretty daughter is pursued by two suitors. The i she loves is poor but worthy, while the begetter prefers the other, a wealthy fop. Another character is a servant in the father's establishment. Just as the girl is to be forcibly wed to the fop, or just every bit she was about to elope with her lover, the good fairy arrives.^[35] This was followed by what was often the most spectacular role of the production, the magical transformation scene.^[37] In early pantomimes, Harlequin possessed magical powers that he used to help himself and his love interest escape. He would tap his wooden sword (a derivative of the Commedia dell'arte slapstick or "batte") on the floor or scenery to brand a one thousand transition of the globe around him accept identify. The scene would switch from beingness within some business firm or castle to, by and large speaking, the streets of the town with storefronts as the backdrop. The transformation sequence was presided over by a Fairy Queen or Fairy Godmother character.^[19] The good fairy magically transformed the leads from the opening fairy story into their new identities as the harlequinade characters. Following is an example of the speech that the fairy would give during this transformation:

Lovers stand forth. With you we shall begin.
You will be fair Columbine – you Harlequin.
King Jamie there, the bonnie Scottish loon,
Will exist a famous cheild for Pantaloon.
Though Guy Fawkes at present is saved from rocks and axe,
I think he should pay the pulverisation-taxation.
His guyish plots blown up – nay, practice non frown;
You lot've always been a guy – now be a Clown.^[37]

This passage is from a pantomime adaptation of the Guy Fawkes story. The fairy creates the characters of the harlequinade in the most typical fashion of but telling the characters what they will alter into. The primary male and female characters from the beginning plotline, often both played past young women,^[30] became the lovers Columbine and Harlequin, the mother or father of Columbine became Pantaloon, and the servant or other comic character became Clown. They would transition into the new characters equally the scenery effectually them changed and would proceed in the "zany fun" department of the performance.^[37] From the fourth dimension of Grimaldi, Clown would run across the transformed setting and cry: "Hither We Are Again!"^[36] The harlequinade began with diverse chase scenes, in which Harlequin and Columbine manage to escape from the clutches of Clown and Pantaloon, despite the acrobatic leaps of the former through windows, atop ladders, ofttimes considering of well-meaning but misguided deportment of the policeman. Somewhen, there was a "nighttime scene", such as a cavern or wood, in which the lovers were caught, and Harlequin'south magic wand was seized from his grasp by Clown, who would flourish it in triumph. The good fairy would then reappear, and one time the father agreed to the spousal relationship of the young lovers, she would transport the whole company to a one thousand final scene.^[35]

1837 to the finish of the harlequinade [edit]

Despite its visible decline past 1836, the pantomime nonetheless fought to stay alive.^[38] Afterward 1843, when theatres other than the original patent theatres were permitted to perform spoken dialogue, the importance of the silent harlequinade began to decrease, while the importance of the fairy-tale part of the pantomime increased.^[33] Two writers who helped to drag the importance and popularity of the fairy-tale portion of the pantomime were James Planché and Henry James Byron. They emphasized puns and humorous word play, a tradition that continues in pantomime today.^[33] As manager of Drury Lane in the 1870s, Augustus Harris produced and co-wrote a series of extraordinarily popular pantomimes, focusing on the spectacle of the productions, that pushed this transition by emphasizing comic business in the pantomime opening and yard processionals.^[39] By the end of the 19th century, the harlequinade had become only a brief epilogue to the pantomime, dwindling into a brief brandish of dancing and acrobatics.^[twoscore] It lingered for a few decades longer but finally disappeared, although a few of its comic elements had been incorporated into the pantomime stories.^[24] The last harlequinade was played at the Lyceum Theatre in 1939.^[41] Well-known pantomime artists of this era included William Payne,^[42] his sons, the Payne Brothers,^[43] Vesta Tilley, Dan Leno, Herbert Campbell, Little Tich,^[39] Clarice Mayne, Dorothy Ward^[44] and Cullen and Carthy.^[45]

Modern traditions and conventions [edit]

Traditionally performed at Christmas and afterwards, with family audiences, British pantomime continues as a popular form of theatre, incorporating vocal, dance, buffoonery, slapstick, cross-dressing, in-jokes, topical references, audience participation, and balmy sexual allusion.^[46] Scottish comedian Craig Ferguson, in his 2020 memoir, summarizes gimmicky pantomime equally classic folklore and fairy tales loosely retold in a slapstick theatrical comedy-musical ("Think Mamma Mia! featuring the Three Stooges just with everyone's back catalogue, not just ABBA's"), and furthermore including audience participation reminiscent of showings of the film The Rocky Horror Pic.^[47]

Stories [edit]

Pantomime story lines and scripts usually make no directly reference to Christmas, and are almost ever based on traditional children's stories, especially the fairy tales of Charles Perrault, Joseph Jacobs, Hans Christian Andersen and the Grimm Brothers. Some of the well-nigh popular pantomime stories include Cinderella, Aladdin, Dick Whittington and His Cat and Snow White and the Seven Dwarfs,^[5] as well every bit Jack and the Beanstalk, Peter Pan, Puss in Boots and Sleeping Beauty.^[48] Other traditional stories include Female parent Goose, Dazzler and the Beast, Robinson Crusoe, The Sorcerer of Oz, Babes in the Woods (combined with elements of Robin Hood), Little Cherry-red Riding Hood, Goldilocks and the Iii Bears, Sinbad, St. George and the Dragon, Bluebeard, The Petty Mermaid and Thumbelina.^{[28] [49]} Prior to about 1870, many other stories were made into pantomimes.^{[33] [50]}

While the familiarity of the audience with the original children'south story is generally assumed, plot lines are almost always adjusted for comic or satirical effect, and characters and situations from other stories are oftentimes interpolated into the plot. 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 chosen "Jack", such as Jack and Jill. Certain familiar scenes tend to recur, regardless of plot relevance, and highly unlikely resolution of the plot is common. Straight retellings of the original stories are rare.^[51]

Performance conventions [edit]

The form has a number of conventions, some of which have inverse or weakened a little over the years, and by no means all of which are obligatory. Some of these conventions were once common to other genres of popular theatre such as melodrama.^[52]

• The leading male person juvenile graphic symbol (the principal boy) is traditionally played by a young adult female in male person garments (such equally breeches). Her romantic partner is usually the chief girl, a female ingénue.
• An older woman (the pantomime dame – often the hero's female parent) is normally played by a man in drag.^[53]
• Risqué double entendre, often wringing innuendo out of perfectly innocent phrases. This is, in theory, over the heads of the children in the audience and is for the entertainment of the adults.
• Audience participation, including calls of "He's behind yous!" (or "Wait behind you!"), and "Oh, yes it is!" and "Oh, no it isn't!" The audience is always encouraged to hiss or jeer at the villain and "awwwww" the poor victims, such as the rejected dame, who is usually enamoured with one of the male characters.^[54]
• Music may be original but is more likely to combine well-known tunes with re-written lyrics. At least one "audience participation" song is traditional: 1 half of the audience may be challenged to sing "their" chorus louder than the other half. Children in the audience may even be invited on stage to sing forth with members of the cast.
• The animal, played by an actor in "fauna skin" or animal costume. Information technology is oftentimes a pantomime horse or moo-cow (though could fifty-fifty exist a camel if appropriate to the setting), played by 2 actors in a single costume, one equally the head and front legs, the other as the torso and back legs.
• The good fairy enters from stage right (from the audience'south point of view this is on the left) and the villain enters from stage left (correct from the betoken of view of the audience). This convention goes dorsum to the medieval mystery plays, where the right side of the stage symbolised Heaven and the left side symbolised Hell.
• A slapstick comedy routine may exist performed, oft a decorating or baking scene, with humour based on throwing messy substances. Until the 20th century, British pantomimes often concluded with a harlequinade, a free-continuing amusement of slapstick. Since so, the slapstick has been incorporated into the master body of the evidence.
• In the 19th century, until the 1880s, pantomimes typically included a transformation scene in which a Fairy Queen magically transformed the pantomime characters into the characters of the harlequinade, who then performed the harlequinade.^{[xl] [53]}
• The Chorus, who tin can be considered extras on-stage, and oftentimes appear in multiple scenes (but as different characters) and who perform a variety of songs and dances throughout the show. Because of their multiple roles, they may take as much stage-time every bit the atomic number 82 characters themselves.
• At some point during the functioning, characters including the Dame and the comic will sit on a demote and sing a cheerful song to forget their fears. The affair they fear, often a ghost, appears behind them, but at commencement the characters ignore the audience's warnings of danger. The characters soon circle the demote, followed by the ghost, every bit the audience cries "Information technology's backside you!" One past 1, the characters see the ghost and run off, until at terminal the Dame and the ghost come confront to face, whereupon the ghost, frightened by the visage of the Dame, runs away.^[54]

Guest stars [edit]

Another pantomime tradition is to appoint celebrity guest stars, a practice that dates dorsum to the late 19th century, when Augustus Harris was proprietor of the Theatre Royal, Drury Lane, and hired well-known variety artists for his pantomimes. Gimmicky pantomime productions are oft adjusted to allow the star to showcase their well-known act, fifty-fifty when such a spot has little relation to the pantomime's plot. Critic Michael Billington has argued that if the star enters into the spirit of the amusement, he or she likely adds to its overall effect, while if it becomes a "showcase for a star" who "stands outside the action", the glory's presence likely detracts, yet the marketing advantage that the star brings to the piece.^[55] Billington said that Ian McKellen in a 2004 Aladdin "lets downwardly his pilus and lifts up his skirt to reveal a nifty pair of legs and an appetite for double entendre: when told by decorators that 'your front porch could do with a good lick', McKellen adopts a suitable wait of mock-outrage. ... At least we tin can tell our grandchildren that we saw McKellen's Twankey and it was huge."^[55]

Roles [edit]

Major [edit]

The main roles within pantomime are normally every bit follows:^[56]

Function	Role description	Played by
Master boy	Principal character in the pantomime, a hero or charismatic rogue	Traditionally a young woman in men's clothing
Panto dame	Ordinarily the hero's mother	Traditionally a centre-aged human in drag
Primary girl	Normally the hero's love involvement	Young woman
Comic atomic number 82 or proficient fairy	Does physical comedy and relates to children in the audience. Sometimes plays an animal.	Man or woman
Villain	The pantomime antagonist. Frequently a wicked wizard, witch or demon.	Man or woman

Pocket-sized [edit]

Office	Function clarification	Played past
Practiced fairy or wise woman	Usual role is to aid (traditionally giddy) hero defeat (much more than intelligent) villain. Oft has a part in the resolution of the plot	Woman (or homo in drag)
Animals, etc.	east.g. Jack's moo-cow	"Pantomime equus caballus" or puppet(s)
Chorus	Members often take several pocket-size roles
Dancers		Ordinarily a group of young boys and girls

Venues [edit]

Pantomime is performed in the United Kingdom, Ireland, Switzerland, Australasia, Canada, Jamaica, South Africa, Malta and Andorra, among other places. It is performed mostly during the Christmas and New year flavour.^{[57] [58]}

United kingdom and the Republic of Ireland [edit]

Many theatres in cities and towns throughout the United Kingdom and Republic of ireland continue to present an annual professional person pantomime. Pantomime is also pop with amateur dramatics societies throughout the U.k. and Ireland, and the pantomime flavour (roughly speaking, belatedly Nov to Feb) will see pantomime productions in many hamlet halls and similar venues across the country.

Andorra [edit]

It was first produced annually in Andorra by the English language-speaking Mums' group, from the British expatriate community, in the Teatre de les Fontetes in the parish of La Massana. At present it is produced by English and English-speaking international volunteers as function of the Advent celebrations supported by the Comú de La Massana,^[59] the local businesses^[60] the Social club International d'Andorra^[61] and Vallnord ski station^[62] to raise money, most recently, for the less privileged children of Andorra.^[63]

Australia [edit]

Pantomimes in Commonwealth of australia at Christmas were one time very popular, but the genre has declined greatly since the middle of the 20th century. Several later on professional productions did not recover their costs.^[64]

Canada [edit]

Christmas pantomimes are performed yearly at the Hudson Hamlet Theatre in Quebec.^[65] Since 1996, Ross Picayune Productions has staged pantomimes at Toronto'south Elgin Theatre each Christmas flavor.^[66] Pantomimes imported from England were produced at the Royal Alexandra Theatre in the 1980s.^{[67] [68]} The White Rock Players Club in White Rock, BC have presented an annual pantomime in the Christmas flavour since 1954.^[69] The Royal Canadian Theatre Company produces pantomimes in British Columbia, written past Ellie Male monarch.^[70] Since 2013, Theatre Replacement has been producing E Van Panto in partnership with The Cultch in Vancouver.^{[71] [72]}

Malta [edit]

Pantomime was imported^{[ when? ]} for a British departer audience and later adapted by Maltese producers for Maltese audiences. While in many one-time territories of the British empire, pantomime declined in popularity after independence, as information technology was seen as a symbol of colonial rule, studies have shown that this genre remains stiff in Malta.^[73]

Jamaica [edit]

The National Pantomime of Jamaica was started in 1941 by educators Henry Fowler and Greta Fowler, pioneers of the Little Theatre Movement in Jamaica. Among the first players was Louise Bennett-Coverley. Other notable players take included Oliver Samuels, Charles Hyatt, Willard White, Rita Marley and Dawn Penn. The annual pantomime opens on Boxing Twenty-four hours at the Fiddling Theatre in Kingston and is strongly influenced by aspects of Jamaican culture, sociology and history.^{[74] [75]}

Switzerland [edit]

Pantomime was brought to Switzerland past British immigrants and is performed regularly in Basel, where the offset British-style pantomime was performed in 1994 in a hangar at Basel Airport. In 2009 the Basel English Panto Group was formed,^[76] which performs at the Scala Basel each December.^[77]

The states [edit]

Pantomime has seldom been performed in the United states, although a few productions have been mounted in recent years. Every bit a upshot, Americans commonly sympathise the discussion "pantomime" to refer to the art of mime equally it was practised, for case, by Marcel Marceau and Nola Rae. Notwithstanding, certain shows that came from the pantomime traditions, especially Peter Pan, are performed quite often, and a few American theatre companies produce traditional British-style pantomime too equally American adaptations of the grade.^{[ citation needed ]}

Co-ordinate to Professor Russell A. Peck of the University of Rochester, the earliest pantomime productions in the US were Cinderella pantomime productions in New York in March 1808, New York again in Baronial 1808, Philadelphia in 1824, and Baltimore in 1839.^[78] A production at Olympic Theatre in New York of Humpty Dumpty ran for at least 943 performances between 1868 and 1873,^[79] (one source says 1,200 performances),^[v] becoming the longest-running pantomime in history.^[5]

In 1993, there was a production of Cinderella at the UCLA Freud Theatre, starring Zsa Zsa Gabor.^[80] Stages Repertory Theatre in Houston, Texas, has been performing original pantomime-style musicals during the Christmas holidays since 2008.^[81] Lythgoe Family Productions has produced Christmas pantomimes since 2010 in California.^[82]

See besides [edit]

• ITV Panto
• Victorian caricatural
• Weihnachtsmärchen (Christmas fairy tale)

References [edit]

Citations [edit]

1. ^ "pantomime". Merriam-Webster Dictionary.
2. ^ Lawner, p. sixteen.
3. ^ ^{a b c d} Reid-Walsh, Jacqueline. "Pantomime", The Oxford Encyclopedia of Children's Literature, Jack Zipes (ed.), Oxford University Press (2006), ISBN 9780195146561
4. ^ Mayer (1969), p. 6.
5. ^ ^{a b c d} "The History of Pantomime", It'due south-Behind-Y'all.com, 2002, accessed 10 February 2013
6. ^ Webster'southward New World Dictionary, Globe Publishing Company, 2nd College Edition, 1980, p. 1027.
7. ^ Oxford English language Lexicon southward.v. pantomime
8. ^ ^{a b} Hall, p. three.
9. ^ ^{a b} Pantomimus, Encyclopædia Britannica
10. ^ Liddell, Henry George and Robert Scott. παντόμιμος, A Greek–English Lexicon, Perseus Digital Library, accessed 16 November 2013
11. ^ Lincoln Kirstein, Dance, Trip the light fantastic Horizons Incorporated, New York, 1969, pp. twoscore-42, 48
12. ^ Broadbent, pp. 21–34.
13. ^ Mesk, J., Des Aelius Aristides Rede gegen dice Tänzer, WS 30 (1908)
14. ^ Quoted in Lincoln Kirstein, Dance, Trip the light fantastic toe Horizons Incorporated, New York, 1969, p. 50.
15. ^ ^{a b c d} Alessandra Zanobi. Ancient Pantomime and its Reception, Oxford University Annal of Performances of Greek and Roman Drama
16. ^ Barrow, Mandy. "Mummers' Plays", Projection U.k., 2013, accessed 21 April 2016.
17. ^ Barrow, Mandy. "Christmas Pantomimes", Project Uk, 2013, accessed 21 April 2016
18. ^ Brunt, Michael. "The English Pantomime Masque" Archived 2016-04-26 at the Wayback Motorcar, Abstract of symposium paper for French and English language Pantomime (2007), University of Oxford, accessed 21 April 2016.
19. ^ ^{a b c d e f g} Mayer, David. "Pantomime, British", Oxford Encyclopedia of Theatre and Operation, Oxford University Press, 2003, accessed 21 October 2011 (subscription required)
20. ^ Broadbent, chapter 12.
21. ^ Broadbent, chapter 10.
22. ^ ^{a b c} "Early on pantomime", Victoria and Albert Museum, accessed 21 Oct 2011
23. ^ Smith, p. 228
24. ^ ^{a b} Hartnoll, Phyllis and Peter Constitute (eds). "Harlequinade", The Concise Oxford Companion to the Theatre, Oxford Reference Online, Oxford University Press, 1996, accessed 21 Oct 2011. (subscription required)
25. ^ Broadbent, affiliate 14. Broadbent spends the start half of his book tracing the aboriginal and European origins of pantomime.
26. ^ Broadbent, chapter 14.
27. ^ Dircks, Phyllis T. "Rich, John (1692–1761)", Oxford Dictionary of National Biography, Oxford University Press, 2004; online edition, May 2011, accessed 21 Oct 2011
28. ^ ^{a b} Chaffee and Crick, p. 278
29. ^ Broadbent, chapter 15.
30. ^ ^{a b} Haill, Catherine. Pantomime Archived 2011-11-08 at the Wayback Machine, University of East London, accessed 17 Jan 2012
31. ^ Davies, Thomas. Memoirs of the life of David Garrick, New edition, 1780, I. x. 129, quoted in the Oxford English Dictionary.
32. ^ Broadbent, capacity 14 and 15.
33. ^ ^{a b c d} "The Origin of Popular Pantomime Stories", Victoria and Albert Museum, accessed January eight, 2016.
34. ^ McConnell Stott, pp. 95–100.
35. ^ ^{a b c} Broadbent, affiliate sixteen
36. ^ ^{a b c} Moody, Jane. "Grimaldi, Joseph (1778–1837)", Oxford Lexicon of National Biography, Oxford Academy Printing, 2004; online edition, January 2008, accessed 21 October 2011.
37. ^ ^{a b c} Wilson, p.?.
38. ^ Mayer, p. 309.
39. ^ ^{a b} Mayer, p. 324
40. ^ ^{a b} Crowther, Andrew. "Clown and Harlequin", Westward. Due south. Gilbert Guild Journal, vol. 3, issue 23, Summer 2008, pp. 710–12.
41. ^ The Evolution of Pantomime, Its-Behind-Y'all.com, accessed 3 January 2014
42. ^ Boase, G. C. Payne, William Henry Schofield (1803–1878)", Oxford Dictionary of National Biography, Oxford University Press, 2004; online edition, May 2007, accessed 22 October 2011
43. ^ The Olio, four September 1871, p. 41, quoted in Rees, p. 16
44. ^ W. MacQueen-Pope, The Melodies Linger On: The Story of Music Hall, London: Westward. H. Allen (1950), p. 340
45. ^ "Gleams from the spotlight". Sporting Relate. 27 September 1916. p. 1.
46. ^ Christopher, David (2002). "British Culture: An Introduction", p. 74, Routledge; and "It's Behind You", The Economist, 20 December 2014
47. ^ Ferguson, Craig (2020). Riding the Elephant: A Memoir of Altercations, Humiliations, Hallucinations, and Observations, New York, Penguin, pp. 89–91, ISBN 9780525533924
48. ^ Bowie-Sell, Daisy. "Peak ten pantomimes for Christmas", The Daily Telegraph, 17 December 2010, accessed January viii, 2016.
49. ^ Broadbent, chapter xix
50. ^ Jeffrey Richards (2015). The Golden Historic period of Pantomime: Slapstick, Spectacle and Subversion in Victorian England. I.B. Tauris. p. 27. ISBN978-1-78076-293-7.
51. ^ Origins of Panto Stories, Limelight scripts, retrieved 2018-08-nineteen
52. ^ Smith, p. 200
53. ^ ^{a b} Serck, Linda. "Oh aye it is: Why pantomime is such a British affair", BBC News, 3 January 2016
54. ^ ^{a b} Taylor, Millie. "Audience Participation, Customs and Ritual", British Pantomime Performance, p. 130, Intellect Books, 2007. ISBN 1841501743. Another bench scene is described in the same source at pp. 44–45.
55. ^ ^{a b} Billington, Michael. "Aladdin: Old Vic, London", The Guardian, xx December 2004. Retrieved 26 April 2018.
56. ^ Lipton, Martina. "Localism and Modern British Pantomime", A World of Popular Entertainments, Gillian Arrighi and Victor Emeljanow (eds.), Cambridge Scholars Publishing (2012) ISBN 1443838047 p. 56.
57. ^ Roberts, Chris. Heavy Words Lightly Thrown: The Reason Backside Rhyme, Thorndike Printing, 2006 (ISBN 0786285176)
58. ^ Smith, p. 287.
59. ^ https://world wide web.lamassana.ad/butlletins_web/AD400_desembre_2018/AF%20butlleti%20AD400%20baixa.pdf ^{[ dead link ]}
60. ^ "English Language Schoolhouse la Massana".
61. ^ "Pantomime – Theatre Group – International Club of Andorra".
62. ^ "Estació d'Esquí i Bike a Andorra".
63. ^ "Servei Especialitzat d'Atenció a la Infància i 50'Adolescència (SEAIA)".
64. ^ Blake, Elissa (24 June 2014). "British pantomime ready to accept Sydney by storm". Sydney Morning Herald.
65. ^ "Cinderella". Archived from the original on 22 December 2013. Retrieved 29 Dec 2013.
66. ^ Flowers, Ellen; Pim, Gordon (September 2013). "Ontario's theatrical heritage in the spotlight" (PDF). Heritage Matters. Ontario Heritage Trust. p. 6.
67. ^ "Mum's not the discussion with theatre genie'southward pantomimes", National Mail service, accessed 24 November 2014.
68. ^ "Goldilocks and the Three Bears, Regal Alexandra Theatre, Toronto"], Its-backside-you.com, accessed 24 November 2014.
69. ^ Past Productions" Archived 2014-12-21 at the Wayback Machine, White Stone Players' Lodge, retrieved 26 April 2018..
70. ^ Alexandra, Kristi. "Sleeping Beauty brings King's panto history to Surrey", Surrey Now, xviii Dec 2014. Retrieved 26 April 2018.
71. ^ "EAST VAN PANTO | Theatre Replacement". theatrereplacement.org . Retrieved 2020-12-27 .
72. ^ "How a Vancouver theatre company turned a small vacation panto into 1 of the city'south hottest tickets | CBC Radio". CBC . Retrieved 2020-12-27 .
73. ^ Spiteri, Stephanie. "The history and development of Pantomime in Malta", Masters Thesis, University of Malta, 2014
74. ^ "History", Piddling Theatre Movement, 2004, accessed 24 Dec 2013
75. ^ Heap, Brian. "Theatre: National Pantomime", Skywritings, No. 90, pp. 64–66, December 1993, accessed 24 December 2013.
76. ^ "Basel English Panto Grouping", accessed 24 August 2019
77. ^ Baumhofer, Emma. "Taking centre stage: English live shows", Hi Switzerland, 11 May 2015
78. ^ Peck, Russell A. Pantomime, Burlesque, and Children'southward Drama, Lib.rochester.edu, accessed 10 June 2010.
79. ^ Broadbent, p. 215.
80. ^ "Zsa Zsa Gabor in Panto Cinderella". Los Angeles Times. 14 December 1993.
81. ^ "Stages' Panto Mother Goose". broadwayworld.com. 27 Nov 2012. Retrieved 26 April 2018. ; "Preview: Panto Cinderella is a British Tradition". Houston Chronicle. viii December 2008. Retrieved 26 Apr 2018. ; "Panto Bring Texas Laughs to British Genre". Houston Chronicle. ix November 2009. Retrieved 26 April 2018. ; "Panto Mine: A New Holiday Tradition Takes Agree in Houston". CultureMap. 10 December 2009. Retrieved 26 April 2018.
82. ^ "Lythgoe Family Productions Presents CINDERELLA, 11/27-12/xix". broadwayworld.com. 28 September 2010. ; "Panto Baby: A Snow White Christmas opens Nov. 30th". British Weekly. 26 November 2011. Retrieved 26 April 2018. ; "Theater review: Cinderella Christmas at the El Portal". Los Angeles Times. 23 December 2011. Retrieved 26 April 2018. ; "A Snow White Christmas puts Southern California imprint on British theater tradition". Los Angeles Times. xi December 2012. Retrieved 26 April 2018. ; and "Pasadena Playhouse Mike Stoller and wife gave crucial $i million". Los Angeles Times. 23 January 2013. Retrieved 26 April 2018.

Sources [edit]

• Broadbent, R.J. (1901). A History of Pantomime. London.
• Chaffee, Judith and Olly Crick, The Routledge Companion to Commedia dell'Arte (Routledge, 2015) ISBN 978-0-415-74506-2
• Hall, E. and R. Wyles, eds., New Directions in Aboriginal Pantomime (Oxford, 2008).
• Lawner, Lynne (1998). Harlequin on the Moon. New York: Harry Northward. Abrams.
• Mayer, David III (1969). Harlequin in His Element: The English Pantomime, 1806–1836 . Cambridge, Massachusetts: Harvard University Press. ISBN0-674-37275-1.
• McConnell Stott, Andrew (2009). The Pantomime Life of Joseph Grimaldi. Edinburgh: Canongate Books. ISBN978-i-84767-295-7.
• Richards, Jeffrey. The Golden Age of Pantomime: Slapstick, Spectacle and Subversion in Victorian England (I. B. Tauris, 2014). ISBN 1780762933
• Smith, Winifred (1964). The Commedia dell'Arte. New York: Benjamin Blom.
• Wilson, A. Eastward. (1949). The Story of Pantomime. London: Domicile & Van Thal.

External links [edit]

Wikimedia Commons has media related to Pantomime.

• MusicalTalk Podcast discussing British pantomime, its origins and traditions.
• Geneva Apprentice Operatic Society
• Pantomime Shows in Uk
• The Clandestine Pantomime Society
• Theatre Uk
• Madrid Players
• Panto in Wales seen through American eyes
• "Pantomime" Archived 2011-11-08 at the Wayback Machine past Catherine Haill, V & A
• "The Rise and Fall of the Pantomime Harlequinade"

johnsonened1977.blogspot.com

Source: https://en.wikipedia.org/wiki/Pantomime

Share this post