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By Edith Hall, Rosie Wyles

This is often the 1st entire and illustrated learn of crucial type of theatre within the complete Roman Empire - pantomime, the traditional identical of ballet dancing. played for greater than 5 centuries in hundreds of thousands of theatres from Portugal within the West to the Euphrates, from Gaul to North Africa, solo male dancing stars - the forerunners of Nijinsky, Nureyev, and Baryshnikov - shocked audiences with their erotic costumes, subtlety of gesture, and awesome athleticism. In 16 especially commissioned and complementary reviews, the top global experts discover all points of the traditional pantomime dancer's functionality abilities, reputation, and social impression, whereas paying unique realization to the texts that shaped the foundation of this specific paintings shape.

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It has been proposed, therefore, that his treatise may not be reliable as a source of factual and empirical data. 12–16) included amongst its provisions one that provided for the public support of mimes and pantomime dancers. 64; see Norman (2000), xiii. 52 Becker and Kondoleon (2005), 194 with Wg. 4. 53 See Petit (1955), 123–44 (the chapter ‘Les jeux et les spectacles’). 54 Misopogon 342 B ¼ F. L. Mu¨ller (1998), 130–1. On the rhetorical strategies used by Julian in the oration, see Gleason (1986).

There is a considerable overlap between the mythological topics that were enjoyed in the theatre and chosen for sarcophagus decoration, especially those (such as the myth of Alcestis) with obvious moral, conjugal, familial, and thanatological resonances. But the impact of the experience of pantomime on this kind of art may be more deeply embedded in perceptions of the relationship between the myth’s inner temporal logic and the particular episodes that are represented, sequentially or in tandem, upon sarcophagi.

These passages can potentially undermine comforting assumptions about the evolution and form of pantomime, but however disconcerting and disorientating all these possibilities may be, Wiseman stresses that if we want to visualize what happened on the stages of Roman theatres, we need all the help we can get. 69 On mime see recently Hunter (2002) and Panayotakis, below, pp. 185–9. On the Charition mime, Hall (forthcoming b), and on the relationship between pantomime and the pyrrhic dance, Ceccarelli (1998), ch.

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