Mime

The paper explores Tati's use of new film media in 'Playtime' in ways that reveal more fundamental modes of social, mimetic and situational mediation as performed in the film by architects, and architect-like characters, and by the architectural settings which Jacques Tati devised.

Popular Spectacles in Rome  from the Late Republic to the Early Imperial Age.
The aim of the present contribute is to provide an outline of the theatralical forms in Rome during the first century BC, collecting literary texts with contemporary archaeological sources, epigraphic documents and papyri. The data are framed in the social context in which the traditional forms of theatre - tragedy and comedy - and other entertaining shows, such as pantomime and mime have developed.
Keywords
Roman theater, Tragedy, Comedy, Mimes, Pantomime, Recitals and Reperformances. Archaeological and papyrological documents.

This chapter on the manuscript tradition of the moral maxims (sententiae) associated with the mimographer Publilius has already appeared in the volume "Aliento. La traversée européenne des Proverbia Senecae: de Publilius Syrus à Érasme et au-delà", No. 5, coordonné par Marta López Izquierdo (Éditions Universitaires de Lorraine, 2013), 15-50. I publish here the final version of the paper before it went to proofs.

En este libro autobiográfico, Ángel Elizondo –personalidad insoslayable de las artes escénicas latinoamericanas– reconstruye sus recuerdos y andanzas, sus aprendizajes y creaciones escénicas, sus vínculos afectivos y profesionales, su pasión por el arte de la acción corporal. En un entramado de inéditos materiales de archivo, reflexiones sobre su actividad e innumerables anécdotas con figuras que van desde Don Juan Carlos Dávalos a Olga Orozco, de Julio Le Parc a Marta Minujín, de Pierre Schaeffer a Astor Piazzolla, de Robert Bresson a Isabel Larguía, de Rodolfo Kusch a Edmund Valladares, de Étienne Decroux a Jacques Lecoq pasando por Marcel Marceau, de Maximilen Decroux a Raymond Devos, de una compañía de danzas latinoamericanas a una compañía de mimo, del mundo del mimo a los hospitales psiquiátricos con Jaime Rojas-Bermúdez o, entre otras, del Di Tella al trabajo clandestino en plena dictadura cívico-militar, el libro ofrece un amplio  y variado abanico de referencias artísticas e históricas del mundo que le tocó vivir.

This article aims to examine both the mimic specialisation of kinaidoi and the correlated literary productions of the kinaidologoi and ionikologoi. Within this framework, relative sub-genres, such as hilarodia, magodia, simodia and lysiodia are discussed. In the present second part, the literary sources for all the aforementioned sub-genres are examined, as the archaeological evidence has already been dealt with in the first part. The general conclusion is that not only lyric mime (in the framework of which the solo performance was significant) existed in Antiquity,
but also that, from the fourth century BC onwards, a large variety of entertainment genres developed, similar to those encountered in the modern music hall and cabaret performance.

No Kidding! Clown as Protagonist in Twentieth-Century Theater examines the way clown was transformed into a serious character in twentieth-century theater. Modernist theater practitioners recognized that clown's approach to performance is profoundly different from other modes of theatrical representation. The paradox of clown, a traditionally marginal, comic character thrust into center stage as the focus of the agon, provided a stimulating new way to renovate tragedy. Experiments with clown by Jean Cocteau, Vsevolod Meyerhold, Bertolt Brecht, Samuel Beckett, Giorgio Strehler, Dario Fo, and Roberto Benigni are examined as a means of exploring how and why clown became, in contemporary theater and film, a character from whom audiences expect philosophizing, angst, or political criticism as much as physical comedy and fractured language.

That facial expressions are universal emotion signals has been supported by observers agreeing on the emotion mimed by actors. We show that actors can mime a diverse range of states: emotions, cognitions, physical states, and actions. English, Hindi, and Malayalam speakers (N = 1200) viewed 25 video clips and indicated the state conveyed. Within each language, at least 23 of the 25 clips were recognised above chance and base rate. Facial expressions of emotions are not special in their recognisability, and it is miming that may be the universal human ability.

Jacques Lecoq is recognized as one of the most influential pedagogues of modern theatre. Nevertheless, his contribution to architectural education is little known and quite underestimated. My contribution aims to show how embodiment and enacting exercise can help architects to rediscover the value and the authentic meaning of architectural environment as theatre of life.

In Herodas Mime 6 Metro first learns from Coritto that she purchased her scarlet dildos from Kerdon the cobbler. In Mime 7 Metro comes to Kerdon’s cobbler’s shop and he shows her some special shoes, which the poet displays in a catalogue. Most scholars agree that the shoes in Mime 7 refer to the dildos in Mime 6, yet more work remains to unlock their hidden meaning. I argue that the catalogue of shoes in Mime 7 stands as a catalogue of double entendres and that it is set among a series of sexual puns.

The subject of this article is the monumental tomb of the pantomime artist Krispos which is found the necropolis area of the ancient Heraclea Pontica city and which is protected in the garden of the Karadeniz Ereğli Museum. 19 line Greek inscription on the marble forming the monumental tomb is located. There is also a bust in the aedicula shaped temple which today is missing. The inscription has been previously published by Sencer Şahin. Trilby hat with a similar goods located, in the upper part of the aedicula is located in the middle of the pediment. From this point of view on this motif and inscription, the art of pantomime will be analyzed in this
article.

Popular Spectacles in Rome  from the Late Republic to the Early Imperial Age.
The aim of the present contribute is to provide an outline of the theatralical forms in Rome during the first century BC, collecting literary texts with contemporary archaeological sources, epigraphic documents and papyri. The data are framed in the social context in which the traditional forms of theatre - tragedy and comedy - and other entertaining shows, such as pantomime and mime have developed.

Harry Tzalas' Farewell to Alexandria and the Alexandrian Mime in Antiquity: The Metaphorical Language of Cultural Identity.
The aim of my paper is to investigate the metaphorical language of cultural identity used in both Farewell to Alexandria and the ancient Alexandrian mime, with special references to the visual language used to verbalize the way of thinking and the imagination, as well as the symbolic interpretations of the Alexandrian cultural experience in each case.

A complex relationship to gestural expression can be discerned through a close reading of the writings of late nineteenth-century Parisian mime artists and critics. The textual examination that I conduct in this article illuminates anxieties over the ideological construct of the “natural” body as it was positioned against the constructs of socialisation and civilisation in the late nineteenth century and identified with concepts of gross materiality (such as bodily fluids) and the organic (the living, breathing body set against the cold corpse). I argue that late nineteenth-century nostalgia for and simultaneous disgust with a “natural” Pierrot influenced the development of techniques of mime based on minimalist movement. Minimalist here refers to small and contained bodily movements that are discernible only at close proximity, a mechanised performance style marked by rapid, rigid movements associated with the automaton—set against the “natural” body as identified with the fluid and organic.

This chapter gives an overview of the pitfalls associated with understanding theatrical literary genres that have been transmitted to us only in fragments. My case study is the theatre of the Roman mime; my argument is that neither the extant fragments from the Latin mime-scripts nor the ‘testimonia’ associated with mime-drama, when studied on their own, give us an accurate picture about mime as popular entertainment or about the elusive position of mime in the artificial literary and fluid social hierarchy of the Roman world. I consider select examples of the ancient reception of the language and style of the mimographer Laberius, I demonstrate how epigraphical evidence and cemetery visual culture may challenge the misleading stereotypes which operated in relation to mime theatre, and I finish with an example of how new discoveries in art and archaeology can open up new perspectives in our study of ancient mime as spectacle.

Lisa Landrum's paper "Modus Operandi of an Architectus Doli: Architectural Cunning in the Comic Plays of Plautus"  appears as Chapter 15.  Also in the book are essays by Karsten Harries, Marco Frascari, David Leatherbarrow, Kenneth Frampton, Juhani Pallasmaa, Steven Holl, and other colleages and former students of Alberto Perez-Gomez including: Ricardo L. Castro, Tracey Eve Winton, Robert Kirkbride, Paul Emmons, Indra Kagis McEwen, Santiago de Orduña, Caroline Dionne, Lily Chi, Louise Pelletier, Lawrence Bird, Lian Chikako Chang, Natalija Subotincic, Stephen Parcell, Graham Livesey, Juan Manuel Heredia, Anne Bordeleau, Peter Olshavsky, and David Theodore.

Paper summary/excerpts: "At least five of Plautus’ twenty extant comedies involve what classicists call an architectus doli, an “architect of trickery.” … Plautus’ elaboration of the cunning slave character has long been considered one of his most original contributions to Latin drama; but the “architect” terms associated with these slaves (and with Jupiter) were likely transposed from the now largely lost Greek comedies that Plautus adapted and translated into Latin. These five imported “architects” were generally ignored in early studies of Plautine inventiveness. They eventually gained attention, however, in an important 1952 study on The Nature of Roman Comedy. Since then, Plautus’ architectus figure has been interpreted in a variety of ways within classical scholarship: as a euphemism for the play’s lowly agent of intrigue; as a proxy for the scheming playwright; and as a media-reflexive figure associated with other craft imagery used throughout Plautus’ plays to qualify and vivify not only acts of scheming and plot construction, but also moral edification. Yet, there are further interpretations to be made and important questions to be asked…This essay cannot answer these questions in full, but it will initiate an interpretation of Plautus’ architectus doli with such questions in mind. By lifting this Roman dramatist up out of the footnotes of architectural scholarship (where he is sometimes merely credited with providing the earliest extant use of the Latin term architectus), the following study prepares the grounds for discovering how the cunning agents and agencies of Plautus’ comedies meaningfully illuminate the modus operandi of architects..."

Gérard de Nerval rattachait directement le théâtre d'ombres aux atellanes latines : « Aussi bien Caragueuz lui-même n'est-il autre que le Polichinelle des Osques, dont on voit encore de si beaux exemplaires au musée de Naples ». Un demi-siècle plus tard, le grand helléniste Salomon Reinach faisait la relation entre les mimes du monde ottoman, leurs homologues italiens et ceux de l'Antiquité, via Byzance : « Il semble bien établi que le Karagà¶z turc a hérité du mime byzantin, comme aussi, par d'autres voies, la Commedia dell'arte et le théâtre des marionnettes ». Sans doute la filiation n'est-elle pas aussi directe. La continuité est frappante cependant : à  la différence de la tragédie antique, qui dut attendre la Renaissance pour être réinventée à  l'opéra puis au théâtre, la comédie et ses masques, relayés par les marionnettes, connurent une fortune moins illustre mais ininterrompue. C'est cette permanence que le volume souhaite illustrer, en privilégiant la portée familière du théâtre, qui dessine une nouvelle carte de l'Europe des spectacles. Sur cette carte, dans ce domaine comme dans tant d'autres, l'Empire ottoman se révèle une puissance de premier plan, bien intégrée au jeu européen. Les voyageurs ne manquent pas de s'intéresser à  ses silhouettes familières, où ils scrutent l'héritage des Anciens. Notre époque a considéré ces spectacles avec la condescendance réservée au pittoresque. Au XIXe siècle, les spécialistes de l'Antiquité et de l'Orient étaient mieux avertis de leur importance. Cet ouvrage, qui réunit des historiens de la littérature, du théâtre, de l'art et de l'archéologie, remet au centre de la scène une tradition injustement marginalisée.

Este articulo busca ofrecer una traduccion espanola de la obra de Prodromos (s. XII), con una anotacion filologica y un comentario que destaca el caracter de centon y el genero dramatico mas alla de la intencionalidad satirica; sostiene la representabilidad de la pieza y su rango como mimo literario.

This chapter gives an overview of the pitfalls associated with understanding theatrical literary genres that have been transmitted to us only in fragments. My case study is the theatre of the Roman mime; my argument is that neither the extant fragments from the Latin mime-scripts nor the ‘testimonia’ associated with mime-drama, when studied on their own, give us an accurate picture about mime as popular entertainment or about the elusive position of mime in the artificial literary and fluid social hierarchy of the Roman world. I consider select examples of the ancient reception of the language and style of the mimographer Laberius, I demonstrate how epigraphical evidence and cemetery visual culture may challenge the misleading stereotypes which operated in relation to mime theatre, and I finish with an example of how new discoveries in art and archaeology can open up new perspectives in our study of ancient mime as spectacle.