Origins Of Roman Pantomime example essay topic

In assessment of the origins and nature of pantomime in ancient Rome, one will clearly see that the latter two factors are wide and varied. This is due to the collaborative nature of the art as a whole. With a close examination of archaeological, textual and representational evidence one will gain a precise understanding of how the origins, nature and type of audience of the pantomime are interrelated. One will additionally gain insight into the widespread popularity of pantomime despite a general dislike towards drama in ancient Rome. Before one can begin to consider the origins of Roman pantomime, one must have a clear understanding of the nature of pantomime. This is due to the fact that the nature of the art is in most cases, directly related to its origins.

Once the nature of the art has been established, one will clearly see the connection between the latter and it's origins. The term pantomime, which was, introduced by the Italian Greeks refers to the actor. The mimer of everything. The pantomime was considered a solo performer who wore a mask, and expressed himself through dance, but did not sing. Rather, a musical group or chorus accompanied the pantomime. This type of performance is usually likened to a ballet enactment with a mythical theme.

The pantomime usually tended to appeal to higher tastes with its mythical themes but as Grim al implies, could also be comic and erotic. In his discussion of pantomime, Lucian of Samosa ta (ca. 125-180) notes that the pantomime represents the orator and the composer of declamations. Lucian claims that the success of the pantomime depends upon his skillful adaptation of language to character.

It is considered that the pantomime had incredible to show forth human character and passion in all their varieties. These qualities of the pantomime were praised by Lesbonax of Mytilene who called pantomimes 'manual philosophers. ' Futher evidence of the versatility of the pantomime in showing emotion and character can be seen in the words of Timo crates: I know not what truth there may be in Plato's analysis of the soul into the three elements of spirit, appetite and reason: but each of the three is admirably illustrated by the pantomime; he shows us the angry man, he shows us the lover, and he shows us every passion under the control of reason... The pantomime was not only skillful in portraying human character, but additionally in embracing many other skills into a single embodiment.

For instance, the pantomime used both bodily skills such as versatility of movement and mental skills where every movement and gesture has meaning and significance. Creating meaning through movement and gesture was significantly important because the pantomime wore mask, which took away any opportunity for showing emotion through facial expression. In consolation, a good pantomime would talk with his hands and the rest of his body to show emotions and different character types. Overall, is clear that agility and ease of movement were very necessary skills for a successful pantomime. The pantomime additionally had to take on several roles in the one performance using little or no costumes.

A mantle was the typical costume, which could be used to imply many different items throughout the performance. An example of the extraordinary of the pantomime is given by Suetonius: "As pantomimes, when they dance clad in their mantles, with one and the same mantle represent a swan's tail, the tresses of Venus, a Fury's scourge... ". Pantomime was a very unique type of performance in that it served a double purpose. Unlike some types of drama that served to be a pleasurable experience or a utilitarian one, the art of pantomime held out objects of both pleasure and utility. This is evidenced through Lucian's comments on the art: It sharpens the wits, it exercises the body, it delights the spectator, it instructs him in the history of bygone days, while the eye and ear are held beneath the spell of flute and cymbal and of graceful dance...

Nowhere can you procure that enjoyment in greater variety and perfection. That said, it is implicitly clear that although pantomime did not always offer a realistic performance experience it was unique because it provided both utility and pleasure for the audience. It provided pleasure in terms of music and physical entertainment and moreover, it was educational in terms of bringing the audience into the history of the past with the use mythical re-enactments. It is somewhat difficult to trace a singular origin of pantomime because of the collective nature of the art. However, the origins of Roman pantomime can be traced to a number of different forms of drama from Greece and Etruria.

As previously discussed, the origins of pantomime can be traced if one examines the nature and conventions the art. One of the principal origins of Roman Pantomime is Greek tragedy. The term tragedian denotes a chief actor or solo performer. Like the Pantomime, the tragedian performed with a mask and a chorus and was considered a "sung" tragedy. The main difference between tragedy and pantomime being that pantomimes were usually "danced" tragedies. C aspo and Slater testify that pantomime became the preferred form of drama after the comic ballet school of Bathyllos lost ground to the tragic ballet school of Pyl ades.

Similarly, pantomime has roots in Greek mythology many of the pantomimes were based on Greek myths. We have evidence of the existence of pantomimes that were centered on Greek myths from very early times. For example, Xenophon outlines a private performance from around 420 B.C. that was largely pantomimic in convention based on the myth of Dionysus and Ariadne. To go further, one later source affirms that the common Roman gained his or her knowledge of Greek myths through watching pantomime. In considering that pantomime was believed to be similar to ballet, it is clear to see why many scholars be live that pantomime has roots in Etruria. It can perhaps be said that in the music and dance from the neighbouring Etruria, the Romans found a perfect for expressing many types of intellectual and emotional concepts and this is precisely what pantomime does.

The authority of Horace can strengthen this belief that the Etruscian provided the earliest significant influence in Roman pantomime. Horace claims that the origin of Roman drama can largely be found in the Fescennine verses. Historians consider these verses to be the planting and harvest entertainments that took place in the town of Fescennine on the Etruscian border. In addition to this, Livy testifies to both Etruscian dancing and Fescennine Verses as influences on Roman theatre, especially that of pantomime. Livy recounts how in 364 BC, Rome was ravaged by a plague. To appease the panic caused, Etruscian dancers and musicians were brought to Rome.

Pickering claims that later, Romans combined Etruscian dance with the dialogue of the Fescennine Verses. Livy refers to this type of entertainment as Saturn and the performers as (book) which is the Etruscian word for dancers. In addition to this, tomb paintings from various Etruscian cities constitute some of the main evidence for estimating the nature and extent of Etruscian influence. The city of Tarquin ii has a great deal of evidence in support of the idea that pantomime originated in Etruria. The tomb paintings portray banqueting scenes, dancing and athletics. Vince claims that the importance of these paintings lies in the "typically Greek arts of flute playing and dancing...

". Hence, one can see the obvious connection between Etruscian festivals rich with dancing and music and the Roman pantomime similarly rich in the latter. In contrast to the above beliefs on the origins of pantomime, many ancient scholars believed that pantomime was the design of Syrian and Alexandrian artists who came to Rome in the second half of the 1st c. B.C. This view serves to reinforce the idea that the art of pantomime did not originate from a singular source, but several. And considering the pantomime's collaborative nature, it is very likely that Roman pantomime came about from a variety of different sources. Similar to the ambiguous origins of pantomime, the reactions of the authorities to it were somewhat differing in nature.

Some praised this particular type of theatre while others detested it. Overall however, in consideration of the general attitude the authorities had toward theatre, which consisted at one time of a total banishment of actors in 115 B.C. pantomime was one of the more agreeable types of theatre. For example, Pickering notes that Augustus had a social legislation in which people of the upper class were forbidden to marry actors or actresses. This type of legislation issued implies how the authorities of Rome considered drama to be a lowly and vulgar form of art. However, Pickering claims that regardless of his legislation, Augustus himself was quite apt to watching mimes and pantomimes. In general terms, theatrical performers as a group were classed as infamy and could claim no civil rights.

Furthermore, according to Hartnell, most Roman actors were slaves, earning starvation wages at the best. The implications here being that acting as a profession was looked down upon greatly by most in Roman society. In contrast however, pantomime does not appear to have been considered such a lowly form art but rather, it seemingly increased in popularity over time. It is the latter that Tacitus illustrates explicitly: "Indeed the proper and peculiar vices of this city seem to me to be almost begotten in the mother's womb, the craze for pantomimes...

". Another example that illustrates that the Romans held pantomimes in higher esteem than other forms of drama is seen in words of Cassiodorus who claims that Roman pantomime is connected to the Etruscian lupus: M. Me tellus and G. Domitius the censors banished the theatre arts from the city except for a Latin piper with singer and the lupus. This statement implies that these particular censors approved of pantomimic types of drama as opposed to other types as they did not banish it from the city. In contrast to this, Fron to in 163 B.C. writes: I praise what the censor did, who closed down the lupus because he claimed that he himself, when he went past those things, maintained his dignity only with difficulty, avoiding tapping his feet to the strains of the clappers and cymbals. This statement, in contrast to the previous one, outlines a particular censor's vein on pantomimic drama.

It is explicitly clear that similar to the common man, many authorities found pleasure in the art of pantomime yet they felt it necessary to banish such art because of the prevailing dislike towards the theatre in general. In conclusion, it is clear through an examination of archaeological, textual and representational evidence that the origins of Roman pantomime can be assessed in terms of its nature. For instance, we can conclude from the evidence available that pantomime had origins in not only ancient Greek mythology and tragedy, but also Etruscian dance. It is possible to make this connection through both textual evidence and through an examination of the 'ballet' nature of the art. It is also clear through textual evidence that pantomimes had a duel function to be both pleasurable and utilitarian. This in turn required the pantomimes to be extremely flexible and versatile in their performing.

As a result of its nature, pantomime had a more elite audience. As another result of its nature, pantomime was not considered by the authorities as vulgar and lowly as other forms of drama.