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This thesis is neither a textbook of pantomime, with instructions for the development of mimetic expertise, nor a history of pantomime. What is recorded here is the personal philosophy of the art of pantomime advanced by Jean-Louis Barrault, Étienne Decroux, Charlie Chaplin, Marcel Marceau, and Red Skelton. The section devoted to each artist contains the portions of his biography pertaining to his development as a mime and a representative sample of critical reactions to his work. In addition to this purpose, this thesis also offers evidence that the comic style of pantomime underwent a change in nature in its use by the mimes who are studied here. Whereas the comic style was original! y unique to pantomimes that had no other intent but to produce laughter or, at most, pathos by physical comedy, these mimes took the comic pantomime into the realms of introspection and philosophy.

Analyser les spectacles romains du théâtre, de l'amphithéâtre et du cirque dans une démarche d'histoire sociale permet de les appréhender comme un élément structurant de la culture et de la société romaine et comme un espace-temps de la vie publique à travers lequel il est possible d'observer de manière privilégiée cette société, les différents groupes qui la composent et les relations qui se nouent entre eux. Ces performances spectaculaires avaient lieu dans le cadre de grandes célébrations publiques (les ludi et les munera) et occupaient une place ambiguë dans la société romaine. Malgré leur succès croissant et leur rôle majeur dans la vie publique, elles étaient moralement dénigrées. Strictement séparées de la sphère civique, elles étaient par conséquent accessibles aux femmes. Celles-ci pouvaient non seulement y assister mais également s'y produire, ce qui leur conférait une visibilité exceptionnelle dans l'espace public. Les pratiques d'exhibition dans les spectacles, attestées aussi bien par les sources littéraires qu'épigraphiques, sont révélatrices des contradictions de la société romaine : malgré leur discrédit, elles fournissaient aux individus, en fonction de leur statut, une source de revenus non négligeable et un outil médiatique majeur. L'exhibition des femmes dans les spectacles romains donne ainsi un aperçu de leur place dans cette société. Dans la continuité des études sur les femmes et le genre, il ne s'agit pas de déconnecter l'histoire des femmes de celle des hommes et du reste de la société, mais d'étudier des pratiques sociales mixtes en précisant la place qu'y occupaient les femmes et la signification de leur intégration à ces pratiques. / Analyzing the Roman performances of theatre, amphitheatre and circus in a social history approach makes it possible to understand them as a structuring element of Roman culture and society and as a time-space of public life through which it is possible to observe in a privileged way this society, the different groups that compose it and the relations that are formed between them. These spectacular performances took place within the framework of large public celebrations (the ludi and munera) and occupied an ambiguous place in Roman society. Despite their growing success and major role in public life, they were morally denigrated. They were therefore accessible to women because strictly separated from the civic sphere. Women could not only attend but also perform, giving them exceptional visibility in the public space. The practices of exhibition in perfonnances, attested by both literary and epigraphic sources, reveal the contradictions of Roman society: despite their discredit, they provided individuals, according to their status, with a significant source of income and a major media tool. The exhibition of women in Roman shows gives a glimpse of their place in this society. In the continuity of studies on women and gender, it is not a question of disconnecting women's history from that of men and the rest of society, but of studying mixed social practices by specifying the place that women occupied in them and the significance of their integration into these practices.

Doctor of Philosophy / 'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."

In this thesis, I explore the June 1946 issue of Dance Index: Joseph Cornell’s “Clowns, Elephants and Ballerinas.” Through the archive of materials collected and presented by Cornell, I attempt to understand the histories of performance offered to the magazine’s readers. Despite the rich field of scholarship dedicated to Cornell and his art, very little work has been dedicated to his contributions to Dance Index. I interpret “Clowns, Elephants and Ballerinas” as both a collage and a series of histories, and I present the magazine as a serious work in Cornell’s oeuvre. I also endeavor to provide an understanding of Cornell’s working method, his sense of history, and the ways his juxtapositions of word and image provide meaning to readers. Weaving together the visual and textual, contemporary and historical, Cornell explores performance legacies, American and European exchange, and pantomime, dance, and circus performance tradition through this magazine issue. Cornell uses each of his diverse materials to explore larger social and political issues as well as artistic traditions. “Clowns, Elephants and Ballerinas” represents a crystallization of a moment in one of his many “explorations.” / text

Doctor of Philosophy / 'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."

Frankfurt (Main), University, Diss., 2006.

Today modern scholars only have few records left that discusses the plebeian women from the Roman society. One group that is known are females who appeared on the Roman stage as dancers and actresses. This paper serves to discuss those two groups. It will focus on the Roman authors attitudes towards female actresses and dancers during the 1 century BC from two points of views: terminology and descriptions. The study will prioritize text passages from three ancient Roman authors during the investigative time-period with focus on three women: Volumnia Cytheris, Dionysia, and Arbuscula. These women, could if successful, integrate the elite society and gain richness and reputation. They often had names and terminology that represented and identified them to a specific social class in the Roman society. These women’s lives, have mostly during the 21 centuries, been discussed and debated from different gender and class aspects with focus to increase our understanding about them. A discussion this paper tends to contribute to.

Notre thèse interroge les formes et les enjeux des représentations de la douleur au XVIIIe siècle dans les arts graphiques, les dessins et les gravures revêtant à la fois un caractère d’expérimentation et d’indice dans la diffusion des thèmes. L’étude tient compte des conventions, des débats et des codifications dont elles faisaient alors l’objet dans le domaine esthétique, médical, social et politique. À l’heure où l’on estime que la douleur doit s’effacer, il nous paraît important d’évaluer ses occurrences et ses mises en scène passées. À cet égard, les arts figurés de la seconde moitié du XVIIIe siècle offrent, en France, un champ d’étude remarquable. Les débats esthétiques autour du groupe sculpté du Laocoon et du voile dit « de Timanthe », mais aussi, sur le plan médical, les interrogations à propos de la persistance de la douleur chez les suppliciés par décollation, témoignent de cet intérêt. / This study aims to examine the forms and the issues of pain in graphic arts during the 18th century, as drawings and engravings take on an experimental aspect and constitute precious evidence of patterns diffusion. It considers the conventions, the debates and the codifications determining its figurative representations, in relation to aesthetic, médical, social and political matters. In a time when pain tends to be obscured by people who are supposed to be in charge of it, it seemed important to appraise its occurrences and its past depictions. Seen from this perspective, the French figurative arts through the second half of the 18th century offer a remarkable field of study. The aesthetic debates about the sculpted group of Laocoon and the veil of Timanthes, or, on a medical level, concenring pain persistence in persons convicted and decapitated, reveal that this passion was of great interest for the theorists at that time.