Pantomime
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A pantomime performance is a unique blend of eccentricity and absurdity, a wild mixture of songs, jokes, outrageous costumes and slapstick physical humour. For many British children, their first family trip to see a pantomime in the Christmas holiday season is their introduction to the magic of the theatre. But what has become a quintessentially British form of entertainment is more than just simple fun. As an art form, pantomime presents a tale of good and evil, where hope finally triumphs after danger and virtual despair.
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The story of pantomime begins with the commedia dell’arte tradition in 16th- century Italy. These improvised shows took place in streets and marketplaces in Italy and eventually throughout Europe. Distinctive masks enabled audiences to recognise the people in these stories immediately; they also allowed actors to be rude or disrespectful without fear of being recognised. The key roles in the cast were invariably rich old men, usually portrayed as cowardly and disreputable; young lovers whose parents refuse to let them marry; and ingenious and quick- witted servants. Many commedia plots show the latter, whose lives are a constant struggle to find food and money, outwitting the old men or overthrowing their masters. This theme of the victory of the underdog is still an essential feature of pantomime today.
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By the mid-18th century, many thousands of people were going to theatres across Britain every night. Among the most popular performances were harlequinades, a new kind of entertainment which interwove Ovid’s first-century Latin poem Metamorphoses with aspects of the Italian commedia. Created by actor John Rich, these early pantomimes cleverly mixed spectacle, music, ballet and myth, and were tremendously enjoyable to watch. Amazing transformations happened at the touch of a magic wand, with mechanical serpents and flying vehicles. They also showed that even early pantomime was fascinated by the crossing of boundaries: the ambiguity of men dressed as women, and the fun of animal characters played by human beings.
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Despite their popularity, Rich’s spectacular performances attracted huge controversy. Critics bitterly attacked pantomimes, complaining that they would bring about the downfall of Shakespeare and the death of serious theatre. David Garrick, the great 18th-century actor-manager, was quick to join these criticisms, while also realising the commercial opportunities of this new art form. But how could Garrick take advantage of the craze and still maintain his position as the defender of ‘legitimate’ theatre? His tactic was to set about changing pantomime’s cultural identity, partly by confining shows to his theatre’s Christmas season. Pantomimes became associated with the frivolity of the holiday season rather than being denounced as a threat. In doing so, Garrick created a convention which has survived to this day.
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At the end of the 18th century, popular theatre saw the arrival of the white-faced Clown, in the form of actor Joseph Grimaldi. By the early 19th century, Britain was at war with France; there was intense civil unrest and violent confrontations between the government and the people. Grimaldi’s hilarious antics embodied the freedom and liberty of British culture by contrast with the country’s supposedly dull, humourless enemies. His anarchic activities included chasing and imprisoning policemen and stealing gigantic quantities of sausages. But the Clown was never caught or sent to jail. Audiences were thrilled by his mischief and his endless eating precisely because he created on stage the fantasy of a different world: a world without hunger, a world of comic revenge against a highly repressive government. Grimaldi became one of the great satirists of his age, a character who offered ludicrous commentaries on everything from the ruling classes to fashion, technology and new forms of transport.
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By the late 19th century, photography had arrived, the telegraph had been invented and the first motor cars were starting to appear on British streets. Meanwhile, the spotlight on the comic stage shifted away from the Clown and towards an unexpected star, the pantomime ‘Dame’: a tired housewife – always played by a man – struggling to cope in an unfriendly world. Dan Leno was the celebrated performer who created and played this talkative and eccentric working-class woman, a mother facing the difficulties of poverty, which he and his audiences knew all too well. In the Dame, Leno developed a persona whose theatrical power comes from the locking together of compassion and laughter. At the same time, artists such as Leno began to infuse pantomime with the plots and dilemmas of working people’s culture.
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Pantomimes are as popular today as they have ever been. Our delight in this form comes from a complex mixture of emotions and relationships. Pantomime offers us the anarchic excitements of a topsy-turvy world only to give up the assurance of harmony restored. The engaging character of the Dame exemplifies pantomime’s self-proclaimed absurdity. Her comical conversations with the audience cut across the boundaries between performers and spectators, drawing us into her chaotic world. While she presides over the anarchy which Grimaldi once visited on policemen, the Dame also embodies the collective ties which bind us together as families, as neighbours, and as members of society.
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Question 1 - 7
From the list of headings below choose the most suitable heading for each paragraph.
List of heading
A character who provoked sympathy and amusement
Outdoor performances with a standard set of
Pantomime as a means of focusing on political issues
Discovering pantomime at a young age
A way of dealing with a negative attitude toward pantomime
An explanation of how a pantomime character appeals to modern audiences
Debate about the origins of pantomime
A successful merging of artistic sources