Pantomime from 1800 till present: Genre – Aesthetics – Development
Historicity and Tradition: How did the pantomime develop from 1800 till the present day, in Germany, Austria, France, the Netherlands, Great Britain, …? Can the pantomime be considered a genre or a ‘mode’? How does contemporary theatre position itself towards this non-verbal genre and its aesthetics? How did the genre evolve historically within the European context?
Textuality: How are pantomimic texts constructed structurally and rhetorically? How do pantomimic texts relate to their performance on stage? Do they contain aspects of ‘text-theatricality’ (Poschmann)? How do ‘literary’ pantomimes differ from other variants of the genre?
Performance: How did the historical performance practice of the genre develop since 1800? On which (theatrical) conventions does the pantomime rely on stage? Which methodological issues arise when historical pantomimic performances are studied?
Gesture, Kinesthetics and body language: How are gestures, movement and body language staged in pantomimes? How does pantomimic gesturality relate to (spoken) language? How does the pantomime differ from other genres of (gestic) movement?
Aesthetics: How does the pantomime conceptualize and textualize an aesthetics of speechlessness? In what sense are pantomimes performative? Which thematic and motivic focal points can be found in pantomimic plots? How does the genre of the pantomime relate to the historical reforms of theatre and the theory of acting? How is the figure of the (panto)mime historically, philosophically and aesthetically conceptualized?
Narrativity: Which narrative features can be found in pantomimes and pantomimic texts? Can the hermeneutical framework of narratology (perspective, focalization, space, …) be applied to the study of pantomimic plays?
Intermediality: How does the pantomime relate to other genres of corporeality and visuality (dance, film, painting, …)? Can the dialogue with traditions such as the tableau vivant or the silent film be considered as ‘remediation’? How does the medium specificity of the genre develop since 1800?
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