Pantomime in Literature & Literary Theory

Pantomime: Etymology, Meanings and Concept

Etymology

The term “pantomime” originates from the ancient Greek words “panto,” meaning “all,” and “mimos,” referring to “mime” or “imitator.” The fusion of these components gives rise to the comprehensive notion of a theatrical performance encompassing various forms of mimicry and expression. Over time, the term evolved, finding its way into different cultures and theatrical traditions, eventually becoming a diverse and culturally nuanced art form.

Meanings and Concept

Meanings	Concept
Theatrical Genre	Pantomime is a theatrical performance that relies heavily on gestures, movements, and facial expressions, often without spoken dialogue. It combines elements of mime, dance, and storytelling to convey narratives or ideas to the audience.
Traditional Panto	In British culture, “panto” refers to a specific form of pantomime traditionally staged during the holiday season. These productions often involve fairy tales, exaggerated characters, cross-dressing, and audience participation, creating a festive and comedic atmosphere.
Sign Language	Pantomime is also associated with sign language, where gestures and body movements are used to convey meaning and communicate without spoken words. This form of pantomime serves as a visual language for the hearing-impaired community.
Cultural Variance	Pantomime has diverse expressions worldwide, with different cultures incorporating their unique styles and themes. Whether in ancient Roman mime performances, Japanese Noh theater, or contemporary street performances, the concept adapts to cultural contexts while retaining its essence of non-verbal communication.

The term “pantomime” thus encapsulates a multifaceted concept, ranging from a theatrical genre emphasizing physical expression to a culturally specific tradition with variations across the globe, demonstrating its rich and evolving history.

Pantomime: Definition of a Theoretical Term

Pantomime, as a theoretical term, denotes a theatrical genre characterized by the conveyance of narratives or ideas through exaggerated gestures, movements, and facial expressions, often without spoken dialogue. This form of performance relies on the expressive capabilities of the human body to communicate stories, emotions, or concepts to the audience. Rooted in ancient Greek theatrical traditions, pantomime has evolved into a versatile art form, encompassing various cultural expressions and serving as a cross-cultural platform for non-verbal communication in theatrical contexts.

Pantomime: Theorists, Works and Argument

Theorist	Works	Argument
Jacques Derrida	Dissemination	Derrida challenges traditional notions of meaning and presence, exploring the deconstruction of binary oppositions in pantomime.
Roland Barthes	Mythologies	Barthes examines cultural myths and symbols, offering insights into the potential symbolic communication in pantomime.
Michel de Certeau	The Practice of Everyday Life	De Certeau explores the notion of tactics and strategies in everyday practices, providing insights into the performative aspects of pantomime.
Erving Goffman	The Presentation of Self in Everyday Life	Goffman investigates the dramaturgical aspects of social interactions, relevant to understanding the performative nature of pantomime.
Mikhail Bakhtin	Rabelais and His World	Bakhtin introduces the concept of carnival and the carnivalesque, providing a framework for analyzing the subversive and liberating elements in pantomime.
Marcel Marceau	Pantomime	Marceau reflects on the art of pantomime, discussing its expressive power and role in non-verbal communication.
Etel Adnan	The Arab Apocalypse	Adnan explores the intersection of language, silence, and performance, relevant to discussions on the communicative aspects of pantomime.
Susan Broadhurst	Liminal Acts: A Critical Overview of Contemporary Performance and Theory	Broadhurst discusses liminality in performance, offering insights into how pantomime occupies a threshold between the seen and the unseen.
Richard Schechner	Between Theater and Anthropology	Schechner examines the performative aspects of cultural rituals, contributing to the understanding of pantomime as a cross-cultural form of expression.
Henri Bergson	Laughter: An Essay on the Meaning of the Comic	Bergson analyzes the nature of laughter and comedy, relevant to understanding the humor and comedic elements inherent in pantomime.

Pantomime: Major Characteristics

1. Non-Verbal Communication: Pantomime relies primarily on gestures, facial expressions, body movements, and other non-verbal elements to convey a narrative or emotions, emphasizing the power of silent communication.
2. Exaggeration and Mime Techniques: Performers in pantomime often employ exaggerated movements and mime techniques to emphasize actions and emotions, enhancing visual storytelling without the use of spoken words.
3. Physical Comedy: Pantomime frequently incorporates physical comedy, where humorous situations arise from the interactions of characters and their exaggerated movements, adding an entertaining and comedic element to the performance.
4. Narrative Storytelling: Despite the absence of spoken words, pantomime effectively tells stories and conveys narratives through a combination of movement, expressions, and often symbolic gestures, engaging audiences in a visual and dynamic form of storytelling.
5. Characterization through Movement: Pantomime places a strong emphasis on the physical portrayal of characters. Performers use distinct movements and gestures to convey the personality, emotions, and traits of their characters without the need for verbal exposition.
6. Interaction with Imaginary Objects: Pantomime often involves the interaction with invisible or imaginary objects. Performers skillfully convey the presence, weight, and characteristics of these imaginary elements through their movements and expressions.
7. Audience Engagement: Pantomime performances frequently encourage audience engagement, involving viewers through visual humor, interaction, and the shared understanding of universally recognizable gestures and expressions.
8. Symbolism and Metaphor: Pantomimes may utilize symbolic gestures and metaphorical actions to represent abstract concepts, emotions, or objects, inviting audiences to interpret the deeper meanings conveyed through movement.
9. Cultural Universality: Pantomimes transcend language barriers, making it a culturally universal form of expression. The use of universally understood gestures and expressions allows for global appreciation and comprehension.
10. Collaboration with Music: Pantomimitic performances often incorporate musical elements to enhance the emotional impact and rhythm of the storytelling, creating a harmonious blend of movement and sound.

These major characteristics collectively contribute to the unique and expressive nature of pantomime as an art form, showcasing its versatility in communication and entertainment.

Pantomime: Relevance in Literary Theories

Literary Theory	Relevance of Pantomime
Semiotics	Pantomimes, with its focus on non-verbal signs and symbols, aligns with semiotics by exploring how gestures and movements convey meaning without relying on spoken language.
Performance Theory	Pantomime is inherently performative, making it a central focus in performance theory. The analysis could explore how bodily movements and expressions contribute to the creation of meaning in a theatrical context.
Postmodernism	Pantomime’s deconstruction of traditional storytelling through non-verbal means can align with postmodern ideas, challenging established norms and inviting reinterpretation of narratives.
Feminist Criticism	Its physicality offers opportunities for feminist analysis, examining how gender roles and stereotypes are expressed through body language and gestures in performance.
Cultural Studies	As a form of cultural expression, it can be studied through cultural studies to understand how gestures, movements, and silent narratives reflect and challenge cultural norms and values.
Psychoanalytic Criticism	The bodily expressions in pantomimes can be analyzed through a psychoanalytic lens to explore the subconscious, emotions, and the performative aspects of the psyche.
Reader-Response Theory	Pantomimes engage the audience through visual storytelling, making it suitable for reader-response analysis to understand how spectators interpret and emotionally respond to the performance.
Postcolonial Criticism	Pantomimes, as a non-verbal form of expression, can be examined through postcolonial perspectives to explore how it contributes to or challenges cultural identity in a postcolonial context.
Structuralism	Pantomime’s emphasis on gestures and movements aligns with structuralist analysis by exploring how these elements create a structural framework that conveys meaning.
New Criticism	While primarily focused on the written word, New Criticism could explore the internal coherence and unity within a pantomimitic performance, analyzing its formal elements and patterns.

Pantomime: Application in Critiques

1. Silent Narrative in The Road by Cormac McCarthy:
   • Pantomime Connection: Just as pantomimes rely on silent storytelling through gestures, McCarthy’s The Road often communicates powerful narratives through sparse dialogue and intense imagery. The silence in the prose functions as a literary form of pantomime, conveying the harsh post-apocalyptic world and the characters’ struggles without extensive verbal exposition.
2. Gestural Symbolism in The Great Gatsby by F. Scott Fitzgerald:
   • Pantomime Connection: Similar to pantomime’s use of symbolic gestures, Fitzgerald employs symbolic gestures and actions in The Great Gatsby. For example, Gatsby’s extravagant parties and his reaching towards the green light across the bay can be interpreted as gestural symbols, akin to pantomime, conveying deeper meanings about the American Dream and unattainable aspirations.
3. Visual Expressiveness in One Hundred Years of Solitude by Gabriel García Márquez:
   • Pantomime Connection: Márquez’s magical realism often relies on vivid and visually expressive language, creating scenes that resonate with the visual richness of pantomime. The narrative unfolds with a theatrical quality, akin to pantomime’s use of expressive visuals, contributing to the dreamlike and fantastical atmosphere of the novel.
4. Body Language in Pride and Prejudice by Jane Austen:
   • Pantomime Connection: In Austen’s work, characters’ body language, facial expressions, and social gestures play a crucial role in conveying subtle nuances and unspoken emotions. The social interactions and romantic tensions within the novel are communicated through non-verbal cues, mirroring the communicative power of pantomime in conveying intricate interpersonal dynamics.

Pantomime: Relevant Terms

Term	Definition
Gestural Communication	Use of hand movements and body language to convey messages without speech.
Mime Techniques	Skillful use of facial expressions, body movements, and gestures to tell a story or express emotions.
Exaggeration	Deliberate and heightened portrayal of actions or emotions for emphasis and clarity.
Silent Narratives	Conveying stories or messages without spoken words, relying on visual and physical elements.
Physical Comedy	Humorous actions and movements performed without dialogue, often involving exaggeration.
Symbolic Gestures	Use of specific movements to represent ideas, objects, or emotions in a non-literal way.
Expressive Imagery	Creating vivid and descriptive mental images through body language and movement.
Interaction with Imaginary Objects	Engaging with unseen or nonexistent objects through miming actions and reactions.
Pantomimic Space	The imaginary environment created by a performer through movement and gestures.
Body Language	Non-verbal communication through postures, facial expressions, and physical gestures.

Pantomime: Suggested Readings

1. Chaikin, Joseph. The Presence of the Actor. Theatre Communications Group, 1972.
2. Marceau, Marcel. The Art of Mime. M. Wiener Pub, 2003.
3. Obrist, Hans Ulrich. Do It: The Compendium. Edited by Bruce Altshuler, Thames & Hudson, 2013.
4. Mawer, Irene. The Art of Mime: Its History and Technique in Education and the Theatre. Methuen and Co, 1932.