Pantomime: The History and Metamorphosis of a Theatrical Ideology: References

Pantomime: The History and Metamorphosis of a Theatrical Ideology: Table of Contents

References

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Collège au théâtre, 2010,La vieille et la bête, Fiche pédagogique 3, program notes and commentary on the pantomime performed by Ilka Schönbein, sponsored by the Association Bourguignonne Culturelle, pdf online @abcdijon.org.

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Cuvelier, Flore, 1805, Le gnome, ou Arlequin tigre et bienfaisant, pantomime magico bouffonne, en trois actes, Paris: Barba.

Cuvelier, Jean, 1798, L’anniversaire, ou La fête de la souveraineté: scène lyrique et mélodramatique, mêlée de pantomime, combats et danses, et dédiée au people, Paris: Barba.

_____, 1798, La Fille hussard, ou Le sergent suédois, pantomime en trois actes, Paris: Barba.

_____,1798, L’héroïne suisse, ou Amour et courage: pantomime militaire, en trois actes, Paris: Barba.

_____, 1799, Le Damoisel et la Bergerette, ou la Femme vindicative. Pantomime en trois actes, Paris: Barba.

_____, 1799, Les Tentations, ou tous les diables, pantomime allégorique en trois actes, Paris: Barba. 

_____, 1800, Les hommes de la nature et les hommes policés, pantomime en trois actes, Paris: Barba.

_____, 1808, La Lanterne de Diogène, pantomime équestre, Paris: Barba.

_____, 1810, La main de fer, ou l’épouse criminelle, pantomime en trois actes, Paris: Barba.

_____, 1812, La femme magnanime, ou la siege de la Rochelle,pantomime en trois actes, Paris: Barba. 

_____, 1812, Le renégat ou La belle géorgienne, pantomime chevaleresque de Cuvelier de Trie, Paris: Barba.

_____, 1814, Saint-Hubert, ou Le cerf miraculeux, pantomime en trois actes, Paris: Barba.

_____, 1817, L’enfant du malheur, ou Les amants muets, pantomime féerie, en trois actes, Paris: Barba.

_____, 1817, Macbeth ou Les sorcières de la forêt, pantomime en quatre actes, Paris: Fages.

_____, 1818, Le coffre de fer, ou la grotte des Apennins, pantomine en 3 actes,Paris: Fages.

_____, 1820, La mort de Kléber, ou, Les Français en Égypte: mimodrame historique et militaire en deux actes, Paris: Fages.

Cyprian, 1868, The Writings of Cyprian Bishop of Carthage, Vol. 1, translated by Robert Ernest Wallis, Edinburgh: Clark.

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_____, 1994, Les danses pacifique en Grèce antique,Aix-en-Provence: Publications de l’Université de Provence.

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Dumont, Mathilde, 2016, Video clips of performances by Pinok and Matho posted on the Mathilde Dumont YouTube channel.

Dunbabin, Katherine, 1991, “Triclinium and Stibadium,” William J. Slater (ed.), Dining in a Classical Context, Ann Arbor: University of Michigan Press, 121-148.

_____, 1999, Mosaics of the Greek and Roman World, Cambridge: Cambridge University Press.

_____, 2010, “The pantomime Theonoe on a mosaic from Zeugma,” Journal of Roman Archeology 23, 413-426.

_____, 2016, Theater and Spectacle in the Art of the Roman Empire, Ithaca: Cornell University Press.

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Egrynas, 2014, videos depicting scenes from pantomimes by Kęstutis Adomaitis posted on the Egrynas YouTube channel. 

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_____, 2002, Unpublished conference paper about studying pantomime with Adolf Traks presented at IFTR/FIRT Amsterdam conference Choreography and Corporeality working group.

_____, 2017, Email communications with Adolf Traks.

_____, 2018, Rahel Olbrei: Eesti tantsuteatri rajaja, Tallinn: Eesti Teatriliit.

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_____, 2018 [2010], “Interview with the director of Riga Pantomime troupe Roberts Ligers (intervija ar Robertu Ligeru),” posted online @iDocSlide.com.

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Enters, Angna, 1937, First Person Plural, New York: Stackpole. 

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_____, 1965, On Mime, Middletown: Wesleyan University Press.

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Erinnerungen an Henriette Hendel-Schütz, 1870, Darmstadt: Ziernen.

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ETMM T438, 1963-1989, folder in the Estonian Theater and Music Museum on Pantomime artists in Estonia.

Evagrius Scolasticus, 2000, The Ecclesiastical History of Evagrius Scholasticus, translated by Michael Whitby, Liverpool: Liverpool University Press. 

Eyman, Scott, 2000, Ernst Lubitsch: Laughter in Paradise, Baltimore: Johns Hopkins University Press.

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_____, 2014, “Le ballet pantomime et l’Antiquite: quelques notes de réflexion,” in Faverzani Camillo (ed.), Euterpe et l’Empereur, L’Antiquite et l’Opera, Seminaires 2011-2012, Travaux et Documents, Saint-Denis, UniversitéParis 8-Paris, Institut National d’Histoire de l’Art, n. 58, 21-40 (online HAL: halshs-01071927).

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Fehling, Wiert, 2007, Irail Gadescov: danseur célèbre 1894-1970: de opmerkelijke carrière van danspionier Richard Vogelsang, Delft: Eburon.

Feisel, Florian, 2008-2011, Video excerpts of Antje Töpfer pantomime performances posted on the Florian Feisel YouTube channel.

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_____, 2009, “nicht Wort,- aber mehr als Wort: Zwischen Sprache und Tanz—Grete Wiesenthal und Hugo von Hofmannsthal,” in Gabrielle Bradstetter and Gunhild Oberzaucher-Schüler (eds.), Mundart der wiener Moderne: Der Tanz der Grete Wiesental, Munich: Kieser, 127-150.

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Film Archiv Austria, 2017, Description of the film Die kleine Veronika (1930) posted on the Il Cinema Ritrovato Festival website: festival.ilcinemaritrovato.it.

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Findlay, Gavin, 2016, The Dogtroep Legacy, a series of video lectures/conversations on Dogtroep posted on the Gavin Findlay YouTube channel.

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Fleischer, Mary, 2007, Embodied Texts: Symbolist Playwright-Dancer Collaborations, Amsterdam and New York: Rodopi.

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Foster, Susan Leigh, 1998, Choreography and Narrative: Ballet’s Staging of Story and Desire, Bloomington: Indiana University Press.

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Frasnedi, Fabrizio, 1984, “Il genio pantomimico: i fantasmi del ballo d’azione,” in Ezio Raimondi (ed.), 1984, Il sogno del coreodramma: Salvatore Viganò, poeta muto, Bologna: Mulino, 241-326.

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_____, 2013, Selected Letters, translated by Caillan Davenport and Jennifer Manley, London: Bloomsbury. 

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Fürjesné, Orsolya Huszár, 2008, Pantomim Retro: Egy műfaj fellendülése az 1970-es, 1980-as évek Magyarországán, Diploma Thesis: Pannonia University, online @artes-liberales.hu.

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_____, 1910, Le mélodrame, Paris: Louis-Michaud. 

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_____, 2013, “Pantomime: Visualising Myth in the Roman Empire,” in George Harrison and Vayos Liapis (eds.), Performance in Greek and Roman Theatre, Leiden: Brill, 451-473.

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_____, 1814, De l’Anarchie théâtrale, ou de la Nécessité de remettre en vigueur les lois et les règlements relatifs aux différents genres des spectacles de Paris, Paris: Dentu.

_____, 1817, Les visions de Macbeth, ou Les sorcières d’Écosse, mélodrame en 3 actes, Paris: Delaunay.

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Heike, 2011, Videos of performances by Ilka Schönbein of scenes from Metamorphosen posted on the Georg Heike YouTube channel.

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_____, 1817, Hamlet, Grosses Ballet in fünf Acten, translated by Robert von Gallenberg, Vienna: Wallishaussen.

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_____, 1983, Henryk Tomaszewski I jego teatr, Warsaw: Państwowy Instytut Wydawniczy.

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Hicks, Jesse, 2012, “Terrorism as Art: Mark Pauline’s Dangerous Machines: Robots, Rebellion, and the Post-Apocalyptic Performance Art of Survival Research Labs,” The Verge(October 9), online @theverge.com.

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_____, 1924, translated by David Magie, Vol. 2, Cambridge, MA: Harvard University Press.

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_____, 1892, Italy and Her Invaders, Vol. 2, Oxford: Clarendon Press. 

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_____, 2006, Sämtliche Werke XXVII: Balletten, Pantomimen, Filmszenarien, Frankfurt: S. Fischer. 

_____, 2008,The Whole Difference: Selected Writings of Hugo von Hofmannsthal, translated by J. D. McClatchy, Princeton: Princeton University Press.

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_____, 1892, La musique et la pantomime, Paris: Kolb.

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Impe, Anaëlle, 2014, “The Grotesque as a paradigm of the Puppet Theater in the 21st Century through an analysis of Ilka Schönbein’s show, The Old Lady and the Beast,” paper presented at the conference Dolls and Puppets as Artistic and Cultural Phenomenon, The Aleksander Zelwerowicz/National Academy of Dramatic Art in Warsaw/The Department of Puppetry Art in Bialystok, Bialystok, Poland.

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Jacob of Sarugh, 1935, “Jacob of Serugh’s Homilies on the Spectacles of the Theater,” translated by Cyril Moss, Le Muséon 48, 87–112. 

_____, 2008, “Homilies on the Spectacles of the Theatre,” translated by Cyril Moss, in Edith Hall and Rosie Wyles (eds.), New Directions in Ancient Pantomime, Oxford: Oxford University Press, 412-419.

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Janin, Jules, 1833, Deburau: histoire du théâtre à quatre sous, Paris: Gosselin.

_____, 1881, Deburau: histoire du théâtre à quatre sous, Paris: Librairie des Bibliophiles.

Japan Society, 2014, “The Shamisen Sessions, Vol. 2 Yumiko Tanaka live shamisen accompaniment for Crossroads (Jujiro),” audio file on the Japan Society YouTube channel. 

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Jenčík, Joe, 1930, Anita Berberova, Prague: Terpsichore.

Jiammet, Violaine, 2010, Tanagras. Figurines for Life and Eternity, Paris: Musée du Louvre.

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John of Ephesus, 1860,The Third Part of the Ecclesiastical History of John, Bishop of Ephesus, translated by R. Payne Smith, Oxford: Oxford University Press. 

Johnson, Samuel, and George Steevens (eds.), 1780, Supplement to the Edition of Shakespeare’s Plays Published in 1778, Vol. 2, London: Bathurst. 

Jones, A. M. H., 1964, The Later Roman Empire 284-602, Vol. 1, Oxford: Blackwell.

Jones, Christopher, 1991, “Dinner Theater,” William J. Slater (ed.), Dining in a Classical Context, Ann Arbor: University of Michigan Press, 185-196.

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Jorio, Andrea de, 2000, Gesture in Naples and Gesture in Classical Antiquity, translated by Adam Kendon, Bloomington: Indiana University Press.

Jory, John, 1970, “Associations of Actors in Rome,” Hermes 98/2, 224-253. 

_____, 1981, “The Literary Evidence for the Beginnings of Imperial Pantomime,” Bulletin for the Institute for Classical Studies, 28, 147-161. 

_____, 1984, “The Early Pantomime Riots,” Maistor, Byzantina-Australiensia 5, 57-66.

_____, 1996, “The Drama of the Dance. Prolegomena to an Iconography of Imperial Pantomime,” Slater, W. J. (ed.), Roman Theater and Society, Ann Arbor: University of Michigan Press.

_____, 2001, “Some Cases of Mistaken Identity? Pantomime Masks and Their Context,” Bulletin for the Institute for Classical Studies 45, 1-20.

Joshua the Stylite, 1882, “A History of the Time of Affliction at Edessa and Amida and throughout All Mesopotamia,” translated by William Wright, on the web page Joshua the Stylite, Chronicle composed in Syriac in AD 507 (1882) pp.1-76.

Julia, ou la vestale, pantomime en trois actes, 1786, Paris: Lormel. 

Jullien, Adolphe, 1874, Histoire du théâtre de Madame Pompadour, Paris: Baur.

Jung, Uli and Walter Schatzberg, 1994, “The Silent ‘Rosenkavalier’: A Film by Hugo von Hofmannsthal, Richard Strauss and Robert Wiene,” Modern Austrian Literature 27, 2, 77-89.

_____, 1999, Beyond Caligari: The Films of Robert Wiene, New York: Berghahn.

Jürs-Munby, Karen, 2007, “Hanswurst and Herr Ich: Subjection and Abjection in Enlightenment Censorship of the Comic Figure,” New Theatre Quarterly 23, 2, 124-135. 

Kaes, Anton, 1978, Kino-DebatteTexte zum Verhältnis von Literatur und Film 1909-1929, Munich, Tübingen: dtv, Niemeyer.

Kalonyme, Louis, 1926, “The Dancing of Angna Enters,” The Arts 9, 278-279.

Karantabias, Mark-Anthony, 2015, The Struggle Between the Center and the Periphery: Justinian’s Provincial Reforms of the A.D. 530s, Doctoral Dissertation: University of Kentucky.

Karsai, Veronika, 2009-2017, Videos of performances by Veronika Karsai posted on the Karsai Veronika, Robert B. Suda, and Lajos KulcsárYouTube channels. 

Kassabova, Kapka, 2013, “Shadow plays,” Aeon, online @aeon.co.

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Kayiatos, Anastasia, 2010, “Sooner Speaking than Silent, Sooner Silent than Mute: Soviet Deaf Theatre and Pantomime after Stalin,” Theatre Survey 51, 3, 5-31. 

_____, 2012, Silence and Alterity in Russia after Stalin, 1955-1975, Doctoral Dissertation: University of California Berkeley. 

Keiner, Reinhold, 1988, Hanns Heinz Ewers und der phantastische Film, Hildescheim: Olms.

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Kennedy, Emmet, 1996, “History of the Problem and the Method of Solving It,” in Emmet Kennedy, Marie-Laurence Netter, James P. McGregor, and Mark V. Olsen, Theatre, Opera, and Audiences in Revolutionary Paris, Westport: Greenwood Press, 1-8.

Keysell, Pat, 1985 [1975], Pantomime für Kinder, Ravensburg: Maier.

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Kirstein, Lincoln, 1970, Movement and Metaphor: Four Centuries of Ballet, New York: Praeger.

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Knowles, Marika Takanishi, 2015, “Lost Ground: The Performance of Pierrot in Nadar and Adrien Tournachon’s Photographs of Charles Deburau,” Oxford Art Journal 0, 0, 1-22 (online).

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Kokolakis, Minos, 1959, “Pantomimus and the Treatise de Saltatione,” Platon 10, 3-56.

_____, 1960, “Lucian and the Tragic Performances in His Time,” Platon 23-24, 67-109.

KolařovaPetra, 2015, Étienne Decroux (1898-1991): Portrait du mime en sculpteur. Figures du corps au croisement des arts du spectacle et des arts plastiques, Doctoral Dissertation: Histoire de l’art de l’Université de Paris 1 Panthéon-Sorbonne et de l’Université Charles de Prague.

Kolb, Alexandra, 2009, Performing Femininity: Dance and Literature in German Modernism, Bern: Lang.

Köllő, Miklos, 2016, “…végigálmodtam az életemet,” Miklos Köllő interviewed by JánosRegős, Szcenarium4, 2, 90-104. 

Konstantinova, Anna, 2013, Феномен пластической драмы в творчестве Гедрюса Мацкявичюса [The Phenomenon of Plastic Drama in the Works of Giedrius Mackevičius], abbreviated doctoral thesis posted online in conjunction with the oral defense of the dissertation @cheloveknauka.com.

_____, 2015, “ТРИ ЮБИЛЕЯ ПЛАСТИЧЕСКОЙ ДРАМЫ МОДРИС ТЕНИСОНС, ГЕДРЮС МАЦКЯВИЧЮС ПЛАСТИЧЕСКАЯ ДРАМА ПРЕОДОЛЕНИЕ[Three Anniversaries of Plastic Drama. Modris Tenisons, Giedrius Mackevičius’s Plastic Drama Overcoming],”State Institute for Arts Studies 3-4, 220-236. 

Konstantinova, Anna and Liucija Armonaitė, 2015, “Lietuvoje pamirštas pasaulyje garsinamas menininkas,” Naujoji Romuva 3, 2-9.

Kool, Jaap, 1929a, Die Schiessbude, Pantomime in drei Akten, Vienna: Universal Edition.

Koskinen, Maaret, 2010, Ingmar Bergman’s The Silence: Pictures in the Typewriter, Writings on the Screen, Seattle: University of Washington Press.

Kraus, Carl, 1895, “Das gotische Weihnachtsspiel,” Beiträge zur Geschichte der deutschen Sprache und Literatur 20, 224-257.

Kristal Archive, 1981, 1988, 2017, a collection of programs, newspaper articles, and images related to Maret Kristal collected by Heili Einasto. 

Kristberga, Laine, 2016, “Interdisciplinary Approaches to Documenting Latvian Performance Art,” Culture Crossroads 9, 139-150, online @culturecrossroads.lv.

Kroma Productions, 2015, “Scaramouche,” web page devoted to the Kroma Productions multimedia production of Scaramoucheat the Espoo Culture Center, January 2015, including information about the video made of the production. 

Ksamka, 2016, Ilka Schönbein, Theater Meschugge, promotional brochure issued by the Ksamka Management Agency. 

Kuleshov, Lev, 1974, Kuleshov on Film, translated and edited by Ronald Levaco, Berkeley: University of California Press.

Kurg, Kalle, 2017, Email correspondence and conversations with Heili Einasto about his collaboration with Maret Kristal. 

Kurkinen, Marjaana, 2000, The Spectre of the Orient: Modern French Mime and Traditional Japanese Theatre in the 1930s, Doctoral Dissertation: University of Helsinki.

Kurtz, Maurice, 1999, Jacques Copeau, Biography of a Theater, Carbondale: Southern Illinois University Press.

Kutscher, Arthur, 1922, Frank Wedekind: Sein Leben und seine Werke, Vol. 1, Munich: Müller.

Kuuspu, Keithy, 2019, Iha, digital file folder containing a link to video of the performance of Iha at Kanuti Gild, Tallinn, Estonia, April 2019, shot by Roman Pankratov, a set of 92 photos of the performance taken by Fideelia-Signe Roots, and a pdf copy of Kuuspu’s academic report on the project, “Loov-praktiline uurimistöö, seksuaaliha uurimine läbi lavastuse Iha.” 

Kyle, Donald, 2007, Sport and Spectacle in the Ancient World, Malden, MA:  Blackwell.

Lacey, Alexander, 1928, Pixérécourt and the French Romantic Drama, Toronto: Toronto University Press.

Lacheaux, Jean Claude, 1979, Théâtres et amphithéâtres d’Afrique proconsulaire, Aix-en-Provence: Edisud. 

Lanckrock, Rik, 1971, “M.A.J. Hoste, pionier van de mime in Vlaanderen,” Ons Erfdeel 14, 142-144.

Landels, John, 1999, Music in Ancient Greece and Rome, London: Routledge.

Langeveld, Ellen, 2013, Huilende Stenen: De functie van vrouw in grafinscripties, (Thesis) Leiden: University of Leiden.

Lada-Richards, Ismene, 2007, Silent Eloquence: Lucian and Pantomime Dancing, London: Duckworth.

_____, 2008, “Was Pantomime ‘good to think with?’” in Hall, Edith and Rosie Wyles (eds.), 2008, New Directions in Ancient Pantomime, Oxford: Oxford University Press, 285-313. 

Lagrave, Henri, 1972, Le théâtre et le public à Paris de 1715 à 1750, Paris: Klincksiek.

Lamont, Rosette, 1987, “To Speak the Words of ‘The Tribe.’ The Wordlessness of Samuel Beckett’s Metaphysical Clowns,” in Katherine Burkman (ed.), Myth and Ritual in the Plays of Samuel Beckett, Madison: Farleigh Dickinson University Press, 56-70.

Lang, Erwin, 1910, Grete Wiesenthal: Holzschnitte von Erwin Lang, Berlin: Reiss.

Langen, Marijn de, 2017, Mime denken: Nederlandse mime als manier van denken in en door de theaterpraktijk, Doctoral Dissertation: Universiteit Utrecht.

Larcher, Félix, 1887, Pantomimes de Paul Legrand, Paris: Librairie Théâtrale.

La Regina, Adriano (ed.), 2001, Sangue e arena, Rome: Electa.

Larionov, Denis, 2017, “Unread pantomime: Evgenii Kharitonov’s dissertation in the context of his artistic creativity and Soviet theories of dance,” Shagi / Steps 3, 1, 185-198.

Lasker-Schüler, Elisabeth, 1914, Gesichte, Essays und andere Geschichte, Leipzig: Weissen Bücher.

Latte, Kurt, 1913, De saltationibus Graecorum armatis, Giessen: Toepelmann.

Law, Hedy, 2010, “‘Tout, dans ses charmes, est dangereux’: music, gesture and the dangers of French pantomime, 1748–1775,” Cambridge Opera Journal 20, 3, 241–268.

Lawler, Lillian, 1927, The Maenads: A Contribution to the Study of the Dance in Ancient Greece, Rome: American Academy in Rome.

_____, 1943, “Orchesis Ionike,” Transactions of the American Philological Association74, 60-71.

_____, 1946, “The Geranos Dance—A New Interpretation,” Transactions and Proceedings of the American Philological Association 77, 112-130.

_____, 1974 [1965], The Dance of the Ancient Greek Theatre, Middletown: Wesleyan University Press.

Lawrence, W. J., 1886, “The Progress of Pantomime,” The Gentleman’s Magazine, 261, 544-555. 

Leabhart, Thomas, 1989, Modern and Post-Modern Mime, London: Macmillan.

_____, 2003, “Paroles de sagesse du vendredi soir,” in Patrick Pezin (ed.), Étienne Decroux, mime corporel, Saint-Jean-de-Védas: L’Entretemps, 431-439.

_____, 2007, Etienne Decroux, London: Routledge.

Leavitt, M. B., 1912, Fifty Years Theatrical Management, New York: Broadway Publishing.

Lebon, Daniel-Frédéric, 2012, Bela Bartoks Handlungsballete in ihrer musikalischen Gattungstradition, Berlin: Köster.

Lecomte, Louis-Henry, 1908, Histoire des théâtres de Paris, [Vol. 7] Les Variétés Amusantes, Paris: Daragon.

Lecoq, Jacques, 2006 [1987], Theatre of Movement and Gesture, edited by David Bradby, New York: Routledge.

Lefebvre, Léon, 1890, Un chapitre de l’histoire du théâtre de Lille, Lille: Lefebvre-Ducrocq.

Lehmann, Hans-Thies, 2006 [1999], Postdramatic Theatre, translated by Karen Jürs-Munby, London: Routledge.

Leis, Aime and Ülle Ulla, 2006, Ballett sajandivanuses “Estonias”, Tallinn: Eesti Teatriliit.

Leistikow, Gertrud, 1912, Orchestische Tanzspiele[Concert Program], Munich: Maximillian Burg.

Lemaitre, Jules, 1889, Impressions de théatre, Paris: Oudin.

_____, 1891a, “Causerie Théâtrale,” Les Annales politiques et littéraire 9, 95, 40-41. 

_____, 1891b, “Causerie Théâtrale,” Les Annales politiques et littéraire 9, 410, 281-282.

Lemonnier, Camille, 1894a, Le Mort, pantomime en trois actes en quatre tableaux, Brussels: Breitkopf & Haertel. 

_____, 1894b,Le Mort, mimodrame en trois parties, Brussels: Lithographie Populaire.

_____, 1910, Le Mort; roman, tragédie et pantomime. Paris: La Renaissance du livre.

_____, 1922, Le Mort, pantomime en trois actes, Paris: Frazier-Soye.

Lempfrid, Wolfgang, 2018, “Der Skandal als Publikum: Bartok, Der wunderbare Mandarin,” web pages devoted to the theme Skandal und Provokation in der Musik, posted on the website KölnKlavier: koelnklavier.de.

L’Enlèvement, ou La caverne dans les Pyrénées , pantomime en trois actes, du citoyen, 1792, Paris: Prault.

Leppin, Hartmut, 1992, Histrionen. Untersuchungen zur sozialen Stellung von Bühnenkünstlern im Westen des Römischen Reiches zur Zeit der Republik und des Principats, Bonn: Habelt. 

Lesage, Alain-René, 1733, Le Théâtre de la Foire ou l’opéra-comique, Vol. 2, Amsterdam: Chatelain.

Lesage, Alain-René, 1810, Oeuvres choises de Lesage, Vol. 3, Paris: Leblanc.

_____, 1905, Turcaret, introduced by W. A. R. Kerr, Boston: Heath. 

Lesage, Alain-René and Jacques-Philippe d’Orneval, 1731, Le Théâtre de la Foire ou l’opéra-comique, Vol. 4, Amsterdam: Chatelain.

Lettische Avantgarde, 1988, Exhibition catalogue edited by Neue Gesellschaft für bildende Kunst, Berlin: Elefanten Press.

Levillain, Adèle Dowling, 1943, The Evolution of Pantomime in France, Master’s Thesis: Boston University.

Levetzow, Carl [Karl], 1902, Pierrots Leben, Leiden und Himmelfahrt. Eine tragische Pantomime in 7 Bildern, Leipzig: Seemann.

_____, 1905, “Zur Renaissance der Pantomime,” Die SchaubühneVol. 1, Nos. 3, 6, 7, 125-130; 159-162; 194-198.

Levitz, Tamara, 2012, Modernist Mysteries: Perséphone, New York: Oxford University Press.

Lewin, Ariel, 1999, “Councils,” in Peter Brown and Oleg Grabar (eds.), Late Antiquity: A Guide to the Postclassical World, Cambridge, MA: Harvard University Press, 397-398.

Lewinsky, Mariann, 1997, Eine verrückte Seite: Stummfilm und filmische Avantgarde in Japan, Zürich: Chronos.

Lewis, Tim, 2016, “Lindsay Kemp: I was destined for stardom… I’m still waiting for it,” The Guardian(24 April), online @theguardian.com. 

Lexová, Irene, 2000 [1935], Ancient Egyptian Dances, translated by K. Halmar, Mineola, New York: Dover. 

Leyerle, Blake, 2001, ‪Theatrical Shows and Ascetic Lives: John Chrysostom’s Attack on Spiritual Marriage, Berkeley: University of California Press.

Libanius, 1908, Libanii Opera, Richard Foerster (ed.), Vol. 4, Orationes LI-LXIV, Leipzig: Teubner. 

Liebeschuetz,J.H.W.G., 2001, The Decline and Fall of the Roman City, Oxford: Oxford University Press. 

Lim, Richard, 1996, “Tribunus Voluptatumin the Later Roman Empire,” Memoirs of the American Academy in Rome 41, 163-173.

Lindblom, Gunnel, 1995, “Confessions of a Bergman Co-Worker,” in Roger W. Oliver (ed.), Ingmar Bergman: an Artist’s Journey on Stage, on Screen, in Print, New York: Arcade, 59-63.

Linhardt, Marion, 2009, “Zwischen Moderne und Populärkultur: Das ‘Wienerische’ der Grete Wiesenthal,” in Gabrielle Bradstetter and Gunhild Oberzaucher-Schüler (eds.), Mundart der wiener Moderne: Der Tanz der Grete Wiesental, Munich: Kieser, 41-56.

Lipus, 2008, Video of performance by Ilka Schönbein of the birth scene from Metamorphosenposted on the Ander Lipus YouTube channel. 

Lista, Giovanni (ed.), 1976, Le Théâtre Futuriste Italien, Vol. 2, Lausanne: L’Age d’Homme.

_____, 1994, Loïe Fuller, danseuse de la Belle Époque, Paris: Stock.

Livy, 1912 [1905], History of Rome, translated by Canon Roberts New York: Dutton, available through Perseus online archive. 

Locrine, 1734, The Tragedy of Locrine, the Eldest Son of King Brutus, ascribed to William Shakespeare, London: Tonson.

Longus, 1916, Daphnis and Chloe, translated by George Thornley, revised and augmented by J. M. Edmonds, New York: Putnam. 

Looijenga, Jantina Helena, 1997, Runes around the North Sea and on the Continent AD 150-700; texts & contexts, Doctoral Dissertation: University of Groningen.  

L’Orange, Hans Peter, 1971 [1958], Art Forms and Civic Life in the Late Roman Empire, translated by Knut Berg, Princeton: Princeton University Press.

Lorch, Jennifer, 1969, “Carboni, Raffaello (1817–1875),” Australian Dictionary of Biography 1851-1890, Vol. 3, Melbourne: Melbourne University Press [online through the website Australian Dictionary of Biography].

Lowell, Marion, 1895, Harmonic Gymnastics and Pantomimic Expression, Boston: Lowell.

Lucian, 1936, “The Dance,” The Works of Lucian, Vol. 5, 209-289, Cambridge, MA: Harvard University Press. 

Lucretius, 1916, De Rerum Natura, translated by Lucretius, William Ellery Leonard: New York: Dutton.

Lusk, Norbert, 1914, “Acting in the Silent Drama,” The Theatre 20, 161, 44-45.

Lust, Annette, 2000, FromGreek Mimes to Marcel Marceau and Beyond, Lanham: Scarecrow Press.

MacCoull, L. S. B., 1999, “Gallienus the Genderbender,” Greek, Roman, and Byzantine Studies40 (1999) 233–239.

Macintosh, Fiona, 2010a, “Dancing Maenads in Early Twentieth-Century Britain,” in Fiona Macintosh (ed.), The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance, 188-209.

_____, 2010b, “Dancing like a maenad in the twentieth century,” Omnibus Special Issue 61, 24-25.

_____, 2011, “The Ancient Greeks and the ‘Natural,’” in Alexandra Carter and Rachel Fensham (eds.), Dancing Naturally: Nature, Neo-Classicism and Modernity in Early Twentieth Dance, London: Palgrave Macmillan, 43-56.

MacKay, Constance D’Arcy, 1917, The Little Theatre in the United States, New York: Holt.

MacMullen, Ramsay, 1964, “Some Pictures in Ammianus Marcellinus,” College Art Bulletin 46, 4, 435-455. 

Macrobius, Ambrosius Aurelius Theodosius, 1969, Saturnalia, translated by Percival Vaughan Davies, New York: Columbia University Press.

Madigan, Brian, 2012, The Ceremonial Sculptures of the Roman Gods, Leiden: Brill.

Maëlle, Le Gall, 2013, Monsters: from monstrosity to humanity in Ilka Schönbein’s work, Bachelor’s Thesis: Turku University.

“Magija finske predstave Odlazak,” 2014, article and imagery concerning the production of Lähtöposted on the Bosnian website Fashion.Beauty.Love: fbl.ba.

Magill, Mary Tucker, 1882, Pantomimes, Boston: Cushing.

Magri, Gennaro, 1779, Trattato teorico-prattico di ballo, Vol. 1, Naples: Orsini. 

Main, Robert Wlliam, 2013, Mob Politics: The Political Influence of the Circus Factions in the Eastern Empire from the Reign of Leo I to Heraclius (457-641), Master’s Thesis: University of Ottawa. 

Maindron, Ernest, 1900, Marionnettes et guignols. Les poupées agissantes et parlantes à travers les ages, Paris: Juven.

Maiuri, Amedeo, 1953, Roman Painting, translated by Stuart Gilbert, Lausanne: Skira.

Malalas, John, 1831, Ioannis Malalae Chronographia, Bonn: Weber.

_____, 1986, The Chronicle of John Malalas, translated by Elizabeth Jeffreys, Michael Jeffreys, Roger Scott, and Brian Croke, Melbourne: Australian Association for Byzantine Studies.

Mallarmé, Stéphane, 1897, Divigations, Paris: Fasquelle.

Malnig, Julie, 2012, “Exotica and Ethereality: The Solo Art of Maud Allan,” in Claudia Gitelman and Barbara Palfy (eds.), On Stage Alone: Soloists and the Modern Dance Canon, Gainesville: University Press of Florida, 119-140. 

Mansuelli, Guido Achille, 1990 [1958], “Die Villen der römischen Welt,”Fridolin Reutti (ed.), Die römische Villa, Darmstadt: Wissenschaftliche Buchhandlung,

Marcellinus Comes, 1894, “Marcellini Comitis Chronicon (Mommsen, Chronica MinoraII, 1894),” web page of the Latin Library website.

Mareschal, G., 1891, “La science au théâtre,”La Nature 19, 939 (30 May 1891), 411-414.

Margueritte, Paul, 1882, Pierrot assassin de sa femme: pantomime, Paris: Schmidt. 

_____, 1925, Le printemps tourmenté, Paris: Flammarion.

Margueritte, Paul and Victor Margueritte, 1910, Nos tréteaux; charades de Victor Margueritte; pantomimes de Paul Margueritte, Paris: Les Bibliophiles fantaisistes.

Marks, Martin Miller, 1997, Music and the Silent Film: Contexts and Case Studies, 1895-1924, Oxford: Oxford University Press.

Marmontel, Jean-Francois, 1819, Œuvres completes de Marmontel, Vol. 4, Part 1, Paris: Belin. 

Marranca, Bonnie, 1977, Peter Handke’s My Foot My Tutor: Aspects of Modernism,” Michigan Quarterly Review, 16, 3, 272-279.

Marsh, Carolyn and Rebecca Harris-Warrick, 2005, “The French Connection,” in Rebecca Harris-Warrick and Bruce Alan Brown (eds.), The Grotesque Dancer on the Eighteenth~Century Stage: Gennaro Magri and His World, Madison: University of Wisconsin Press, 173-198.

Martial, 1921, Epigrams, Notes by Mitchell S. Buck, New York: Privately Printed.

Martin, Diana Damian, 2012, “London International Mime Festival,” Exeunt Magazine (6 January), 1-4, online @exeuntmagazine.com.

Martinez, Ariane, 2008a, La pantomime, théâtre en mineur 1880-1945, Paris: Presses Sorbonne nouvelles.

_____, 2008b, “Jeux de mains. Le rôle des mimes dans l’Empreinte ou La main rouge(1908) et La Main(1909),” 1895, Mille huit cent quatre-vingt-quinze 56, 133-147, posted online 1 December 2011, URL: http://1895.revues.org/4066; DOI: 10.4000/1895.4066.

Martynov, Valentin, 2010, “Пантомима,” excerpts from a film documentary on Modris Tenisons, posted on Martynov’s YouTube channel: Валерий Мартынов.

______, 2014, “Yченик Модриса Тенисона,” excerpts from a film documentary on Modris Tenisons, posted on Martynov’s YouTube channel: Валерий Мартынов.

Mason, James Frederick, 1912, The Melodrama in France from the Revolution to the Beginning of Romantic Drama, 1791-1830, Baltimore: Furst.

Massinger, Philip, 1813, The Plays of Philip Massinger, Vol. 2, London: Nicol. 

Matile, Heinz, 2016, “Albert Steffens Begegnung mit Elsa Carlberg,” on the web page devoted to Albert Steffen @ asteffen.com. 

Matsuda Film Productions, 2003, Japanese Film History Studies: Recalling the Treasures of Japanese Cinema, edited by Friends of Silent Film Association, Tokyo: Urban Connections.

Matthews, Kenneth, 1957, Cities in the Sand. Leptis Magna and Sabratha in Roman Africa, Philadelphia: University of Pennsylvania Press.

Matule, Zane, 2009, Performance Latvijā / Performance art in Latvia 1963–2009, Riga: Neptuns.

Mauke, Wilhelm, 1918, Die letzte Maske, Vienna: Universal Edition.

Maxwell, Jaclyn, 2006, Christianization and Communication in Late Antiquity, Cambridge: Cambridge University Press.

Mawer, Irene, 1925, The Dance of Words, London: Dent.

_____, 1932, The Art of Mime, Its History and Technique in Education and the Theatre, London: Methuen.

Mayeur, Ingrid, 2009, “Un apport belge à la pantomime fin-de-siècle. Pierrot macabre de Théodore Hannon (1886),” in Arnaud Rykner (ed.), Pantomime et théâtre du corps, Rennes: Presses Universitaires de Rennes, 119-128. 

MB Adaptors Archive, 2007-2013, Videos of MB Adaptors productions posted on the Margolisbrown YouTube channel.

McCaw, Dick, 2007, “Claire Heggen goes fishing,” in John Keefe and Simon Murray (eds.), Physical Theatre: A Critical Reader, New York: Routledge, 9-16.

McCormick, John, 1993, Popular Theatres of Nineteenth Century France, New York: Routledge.

McGinn, Thomas A. J., 1998, Prostitution, Sexuality and the Law in Ancient Rome, Oxford: Oxford University Press.

Meffre, Liliane, 2002, Carl Einstein, 1885-1940: itinéraires d’une pensée moderne, Paris: Presses de la Université Paris-Sorbonne.

Mehl, Dieter, 2011 [1964], The Elizabethan Dumb Show: The History of a Dramatic Convention, New York: Routledge [1965 translation by the author of his book Die Pantomime im Drama der Shakespearezeit]. 

Meier, Mischa, 2009, Anastasios I: die Entstehung des Byzantinischen Reiches, Stuttgart: Klett-Cotta.

Meinel, Ruediger, 1980, Das Odeion: Untersuchungen an überdachten antiken Theatergebäuden, Frankfurt am Main: Lang. 

Memoires pour servir a l’histoire des spectacles de la foire par un acteur forain, 1743, 2 vols., Paris: Briasson.

Menestrier, Claude-Francois, 1682, Des Ballets anciens et modernes selon les règles du theatre, Paris: Guignard. 

Mennen, Inge, 2011, Power and Status in the Roman Empire, AD 193-284, Leiden: Brill.

Merkelbach, Reinhold, 1998, Mithras. Ein persisch-römischer Mysterienkult, Wiesbaden: Albus.

Mesk, Josef, 1909, “Des Aelius Aristides verlorene Rede gegen die Tänzer,” Wiener Studien 29, 59-74.

Met Performance CID: 45470, 2018, Digital Listing of Metropolitan Opera Programs at archives, metoperafamily.org.

Metastasio, Pietro, 1766 [1731], Demophoon, ein musicalisches Schau-Spiel, bilingual Italian and German edition, with uncredited translation, Munich: Thuille.

_____, 1767, The Works of Metastasio, Vol. 2, translated by John Hoole, London: Davies. 

Meuer, Petra, 2007, Theatrale Räume: theaterästhetische Entwürfe in Stücken von Werner Schwab, Elfriede Jelinek und Peter Handke, Berlin: LIT.

Meyendorf, Rona, 2008, “Der grosse alte Mann des Gehörlosentheater,” transcription of an interview with Kurt Eisenblätter fora television program broadcast on 12 January 2008, broadcast number 1382, on the program Sehen statt Hören, a television channel designed for deaf people, published 30 August 2008 in the weekly newsletter, pdf online@http://archiv.taubenschlag.de/html/ssh/1382.pdf.

“Meyerhold,” 2008, A collection of texts concerning Vsevolod Meyerhold’s theory of biomechanics, including his descripition of the method, translated by Evdokija Zafirovska at Archive.org.

Meylen, Pierre, 1982 [1970], Honegger, son oeuvre et son message, Lausanne: l’áge d’h́omme.

Mielsch, Harald, 2001, Römische Wandmalerei, Darmstadt: Wissenschaftliche Buchgesellschaft, Thiess. 

Miholová, Kateřina, 2007, Král Ubu–Jarry & Grossman & Fára–Divadlo Na zábradlí 1964-1968, Prague: Kant.

Milwaukee Public Theatre, 2017, “A Short History (the first 42 years) of the Milwaulee Public Theatre,” posted on the website for the Milwaukee Public Theatre: milwaukeepublictheatre.org.

Misler, Nicoletta, 1999, “Dressing Up and Dressing Down: The Body of the Avant-Garde,” in John Bowlt and Matthew Drutt (eds.), Amazons of the Avant-Garde, New York: Guggenheim Museum, 95-107.

_____, 2017, The Russian Art of Movement 1920-1930, Turin: Allemandi.

Molloy, Margaret, 1996, Libanius and the Dancers, Hildescheim: Olms.

Mon ami Pierrot, 1917, edited by Kendall Banning, Chicago: Brothers of the Book.

Monnet, Jean, 1900, Mémoires de Jean Monnet, directeur du Théâtre de la Foire, Paris: Louis-Michaud.

Moore, Lillian, 1961, New York’s First Ballet Season 1792, New York: New York Public Library.

Morgan, Lady, 1821, Italy, Vol. 1, London: Colburn.

Morin, Louis, 2009 [1894], Pierre pornographe, published on the website Théâtre d’ombres et silhouettes.

Morrow, Kathleen, 1985, Greek Footwear and the Dating of Sculpture, Madison: University of Wisconsin Press. 

Mościcki, Tomasz, 2016 [2010], “Feliks Parnell,” essay on the website culture.pl.

Mossoux-Bonté, 2008-2018, Videos of performances by the Mossoux-Bonté Company posted on the moussouxbonte, Théâtre de Châtillon, La Passerelle scène nationale YouTube channels.

Mouchet, Louis, 1994, La constellation Jodorowsky, Geneva: Les Films Grain de Sable, excerpt on IMDB database showing Marcel Marceau discussing Jodorowsky at https://www.imdb.com/title/tt0109474/videoplayer/vi2136978969

Mountford, Margaret, 2012, Documentary Papyri from Roman and Byzantine Oxyrhynchus, Doctoral Dissertation: University College London.

Mulhallen, Jacqueline, 2010, The Theatre of Shelley, Cambridge: Open Book. 

_____, 2014, “Shelley, Viganò, and Choreodramma,” in Julia Swindells and David Francis Taylor, The Oxford Handbook of Georgian Theatre 1737-1832, Oxford: Oxford University Press, 498-513. 

Nagy, Michal, 2016, Výrazové prostředky souboru Tichá Opera na příkladu inscenace Stabat Mater, Bachelor’s Thesis: Univerzita Palackého v Olomouci.

Najac, Raoul de, 1887, Petit traité de pantomime à l’usage des gens du monde, Paris: Hennuyer.

_____, 1888, Les exploits d’un arlequin: autobiographie d’un mime, Paris: Hennuyer. 

Nickel, Frank, 1997, Pädagogik der Pantomime: die Mehrperspektivität eines Phänomens, Weinheim: Beltz.

Nicks, Fiona, 1998, The Reign of Anastasius I, 491-518, Doctoral Thesis: St. Hilda’s College, Oxford University.

Nilsson, Martin P., 1906, Griechische Feste von religiöser Bedeutung, Leipzig: Teubner. 

Nio, Kalle, 2018, Links to and images of performances, installations, and exhibitions by Kalle Nio on his website: kallenio.com.

Norris, Herbert, 1924, Ancient European Costume and Fashion, Vol. 1, London: Dent.

Norton, Leslie, 2004, Leonid Massine and the 20thCentury Ballet, Jefferson, North Carolina: McFarland. 

Norton, Thomas and Thomas Sackville, 1883, Gorboduc or Ferrex and Porrrex, a Tragedy, edited by L. Toulmin Smith, Heilbronn: Henninger.

Noverre, Jean-Georges, 1760, Lettres sur la danse, Lyon: Delaroche.

_____, 1774, Introduction au Ballet des Horaces ou Petite Réponse aux grandes lettres du Sr. Angiolini, Milan: unidentified publisher.

Nuñez, Gabriele Betancourt, 2006, “Tanzphotographien von Minya Diez-Dührkoop,” in Rüdiger Joppien (ed.), Entfesselt: Expressionismus in Hamburg um 1920, Hamburg: Museum für Kunst und Gewerbe, 56-63.

Nye, Edward, 2015, “The Romantic Myth of Jean-Gaspard Deburau,” Nineteenth-Century French Studies 44, 1-2, 46-64. 

_____, 2016, “The Pantomime Repertoire of the Théâtre des Funambules,” Nineteenth Century Theatre and Film 43, 1, 3-20.

Oberhuber, Andrea, 2015, “Secrets de Lulu: Félicien Champsaur et la conception du roman ‘moderniste’,” Les Lettres Romanes 69, 3-4, 365-381.

O’Brien, John, 2004, Harlequin Britain: Pantomime and Entertainment, 1690-1760, Baltimore: Johns Hopkins University Press.

O’Keefe, John, 1785, A Short Account of the New Pantomime Called Omai, or, a Trip around the World, London: Cadell.

Okon Fuoko—see me, 2015, Video trailer for the Alpo Aaltokoski theatrical production of Okon Fuoko, posted on Vimeo.

Oldenburg Landesbibliothek, 1911, Advertisement for Rita Sacchetto program with the opera Flotte Bursche, Oldenburg: Grossherzogliches Theater.

Omnibus Archive, 2010-2015, Videos of the Montreal mime company Omnibus le corps du théâtre posted on the YouTube channels TheatreEspaceLibre and Mime Omnibus. 

Onesti, Stefania, 2014, Dietro la traccia de’ gran maestri. Prassi e poetica del ballo pantomimo italiano negli ultimi quarant’anni del Settecento, 2 vols., Doctoral Dissertation: University of Padua (online at Paduaresearch). 

Orgel, Stephen, 1975, The Illusion of Power, Berkeley: University of California Press.

Orinska, Simona, 2011 [2008], “Butoh in Latvia,” documentary film directed by Jānis Redlihs and M. Smildziņa posted on the Simona Orinska YouTube channel.

_____, 2014, “Zime,” video document of performance by Simona Orinska posted on the Hugues le comoux YouTube channel.

_____, 2015, “News,” web page on the Simona Orsinska website @simonaorinska.info.

Orlando Consort, 2015, “Voices Appeared,” webpage on the The Orlando Consort website compiling information and reviews about the ensembles singing accompaniment for showings of the film Le passion de Jeanne d’Arc

Ou, Hsin-yun. 2008, “The Chinese Festival and Eighteenth-Century London Audience,” Wenshan Review: Literature and Culture 2.1, 31-52.

Oulton, Walley Chamberlain, 1796, The History of the Theatres of London:containing an annual register of all the new and revived tragedies, comedies, operas, farces, pantomines, &c. that have been performed at the theaters-royal, in London, from the year 1771 to 1795, Vol. 2, London: Martin and Bain.

“Pantomime in Paris,” 1897, MacMillan’s Magazine 75, 379-386.

Paris, Rita, 1980, “Fregio con thiasos Dionisiaco (inv. N. 106509 = 125586),” in Antonio Giuliano (ed.), Museo Nazionale Romano, Le ScultureI, 2, Rome: De Luca, 192-195.

Parlasca, Klaus, 1959, Die römischen Mosaiken in Deutschland, Berlin: De Gruyter.

Parnell, David Alan, 2014, “Spectacle and Sport in Constantinople in the Sixth Century CE,” in Paul Christesen and Donald G. Kyle (eds.), A Companion to Sport and Spectacle in Greek and Roman Antiquity, Oxford: Blackwell.

Pasch, Johann, 1707, Johann Paschens Beschreibung wahrer Tanzkunst, Frankfurt: Michahelles and Adolph.

Pearson, Roberta, 1992, Eloquent Gestures: The Transformation of Performance Style in the Griffith Biograph Films, Berkeley: University of California Press.

“Performance, not results,” 2014, blog post on Félicia Mallet on the website Photoseed.

Pericaud, Louis, 1897, Le théâtre des funambules, ses mimes, ses acteurs, et ses pantomimes, Paris: Sapin.

Peroux, Joseph Nicholas, 1809, Pantomimische Stellungen von Henriette Hendel, Frankfurt: Perroux.

Peschke, Anna, 2011, “Häutungsprozesse. Ausgangsfragen eines Inszenierungsprojektes,” double 2, 23, [Sex and the Puppet], 12.

_____, 2012, Video scenes from Ilsas Garten, posted on the Anna Peschke Vimeo channel.

_____, 2013a, Video excerpts from Titania tanzt für einen Esel, posted on the Anna Peschke Vimeo channel.

_____, 2013b, Video of Eselei, posted on the Anna Peschke Vimeo channel. 

Peters, Julie Stone, 2000, Theatre of the Book, 1480–1880: Print, Text, and Performance in Europe, Oxford: Oxford University Press.

Petracchi, Angelo, 1818, Analisi del balla di Vigano intitolato Mirra, Milano: Bettoni.

Phillpotts, Bertha, 1920, The Elder Edda and Ancient Scandinavian Drama, Cambridge: Cambridge University Press. 

Phillpotts, J. Surtees and C. S. Jeram, 1877, Easy Selections Adapted from Xenophon, Oxford: Oxford University Press. 

Philostratus, 1912, Life of Apollonius, translated by F.C. Conybeare, Cambridge, MA: Harvard University Press.

_____, 1931, Philostratus the Elder, Imagines. Philostratus the Younger, Imagines. Callistratus, Descriptions, translated by Arthur Fairbanks, Cambridge, MA: Harvard University Press.

Piagnol, André and Robert Laurent-Vibert, 1912, Recherches archéologiques à Ammaedara (Haidra), Rome: Imprimerie Cuggiani.

Pianopianissimo, 2002, webpage documenting the Pianopianissimo Musiktheater Ensemble production of Das Mirakel in 2002, @pppmt.de.

Piccirillo, Michele, 1993, The Mosaics of Jordan, Amman: American Center of Oriental Research.

Piening, Heinrich, 2013, “Examination Report: The Polychromy of the Arch of Titus Menorah Relief,” Images 6: 26–29. 

Pierrot in Turquoise, 2015 [1970], “David Bowie—Threepenny Pierrot #Pangea’s People,” video scenes from the Lindsay Kemp-David Bowie pantomime Pierrot in Turquoise, posted by the makecelebhistory YouTube channel. 

Piña, Juan Andrés, 1973, “Educacion Seximental,” Mensaje 221, 390-391.

_____, 2014, Historia del teatro en Chile 1941-1990, Santiago: Taurus.

Pinok et Matho, 1976, Dynamique de la creation: Le mot et l’expression corporelle, Paris: Vrin.

_____, 2016, Une saga du mime: des origins aux années 1970, Paris: Riveneuve.

Pinthus, Kurt (ed.), 1983 [1913], Das Kinobuch, Frankfurt: Fischer Taschenbuch.

Pirandello, Luigi, 1924, La salamandra, typescript of the 1924 pantomime posted on the website Citta degli Archivi @ cittadegliarchivi.it.

Piris, Paul, 2014, “The Co-Presence and Ontological Ambiguity of the Puppet,” in Dassia N. Posner, Claudia Orenstein, and John Bell (eds.), The Routledge Companion to Puppetry and Material Performance, London: Routledge, 30-42.

Pixerécourt, Guilbert, 1841, Théâtre choisi de Pixerécourt, introduced by Charles Nodier, Paris: Tresse. 

Plato, 1967, Laws. Books 7-12, translated by R. G. Bury, Cambridge, MA: Harvard University Press. 

Plicková, Karolina, 2012, Pantomima Alfreda Jarryho, Diploma Thesis: University of Prague. 

Pliny the Elder, 1855, The Natural History, translated by John Bostock, London: Taylor and Francis.

Pliny the Younger, 1915, Pliny the Letters, translated by William Melmoth, revised by W. M. L. Hutchinson, Vol. 2, Cambridge, MA: Harvard University Press.

Plon, Eugène, 1874, Thorvaldsen: His Life and Works, London: Bentley.

Plutarch, 1874, Plutarch’s Morals, Vol. 1, corrected and revised by William Goodwin, Boston: Little, Brown. 

_____, 1961, Moralia, Volume IX, Table-Talk, Books 7-9. Dialogue on Love, translated by Edwin L. Minar Jr., F. H. Sandbach, and W. C. Helmbold, Cambridge, MA: Harvard University Press.

Poesio, Giannandrea, 1998, “Viganò, the Coreodramma and the Language of Gesture,” Historical Dance [Dolmetsch Historical Dance Society] 3, 5, 3-8.

Poletti, Michel, 2011, Marionette al portale sud, Lugano: Books on Demand.

Pollux, Julius, 1824, Onomasticon, edited by Guilielmus Dindorfius, Leipzig: Kuehn. 

Polti, Georges, 1921 [1895], The Thirty-Six Dramatic Situations, translated by Lucille Ray, Franklin, Ohio: Reeve.

Popi ja Huhuu Archive, 1990, 1992, 2003, 2016, Videos related to performances of the pantomime Pop ja Huhuu in 1975, 2003, and 2016, Lennud: Lavakunstikooli VII lend (1972-1976)(1992); Tähe valgus: Urmas Kibuspuu (1990); Siin ja praegu: Lembit Peterson (1998); Pop ja Huhuu (2003); OP: 559 (2016), Estonian Broadcast Archives online @arhiiv.err.ee.

Povlsen, Karen Klitgaard, 2011, “Salon a la Coppet at Sophienholm,” web page on the website The History of Nordic Women’s Literature

Pontrandolfo, Angela and Agnès Rouveret, 1992, Le tombe dipinte di Paestum, Modena: Panini.

Posner, Dassia, 2009, “A Theatrical Zigzag: Doctor Daperttuto, Colombine’s Veil, and the Grotesque,” Slavic and Eastern European Performance 29, 3, 43-57.

_____, 2016, The Director’s Prism: E. T. A. Hoffmann and the Russian Theatrical Avant-Garde, Evanston: Northwestern University Press.

Posselt, Christoph, 2015, “Der Clown im Management,” in Richard Wiehe (ed.), Über den Clown: Künstlerische und theoretische Perspektiven, Bielefeld: transcript.

Potter, Lois, 2002, Shakespeare in Performance: Othello, Manchester: Manchester University Press.

Potter, Nicole, 2011, “Let’s Get Physical: What’s Happening Now?” American Theatre (January issue), online @americantheatre.org. 

Poursat, Jean-Claude, 1968, “Les représentations de danse armée dans la céramique attique,” Bulletin de correspondance hellénique, 92, 2, 550-615.

Procès-Verbal de la Convention Nationale, 1792, Paris: De la imprimerie Nationale.

Procopius, 1927, The Secret History, translated by Richard Atwater, New York: Covici.

_____, 1935, The Secret History, translated by Henry Bronson Dewing, Cambridge, MA: Harvard University Press.

_____, 1966, Secret History, translated by G. A. Williamson, London: Penguin.

Prod’homme, J. G., 1917, “Gluck’s French Collaborators,” The Musical Quarterly 3, 2, 249-271.

Programe de la Pucelle d’Orléans, ou le fameux siege,pantomime héroïque, 1786, unknown place or publisher, probably government printing press.

Prost, Brigitte, 2012, “Il était une fois des masques et des marionnettes. Le cas du Roi Grenouilled’Ilka Schönbein,” Revue d’Histoire du Théâtre 253, 157-164.

Prudhommeau, Germaine, 1965-1966, La danse grecque antique, 2 vols., Paris: Centre National de la Recherche Scientifique. 

Prunières, Henry, 1921, “Salvatore Viganò,”Revue musicale 3, 2, 71–94

Puchner, Walter, 2002, “Acting in the Byzantine Theatre: Evidence and Problems,” in Pat Easterling and Edith Hall, Greek and Roman Actors, Cambridge: Cambridge University Press, 304-326.

Pudovkin, Vselevod, 1960 [1934], Film Technique and Film Acting, New York: Grove.

Purkis, Charlotte, 2011, “Movement, Poetry and Dionysian Modernism: Irene Mawer’s Experiments with ‘Dance Words,’” in Aida Ailamazian, Julia Idlis, Irina Sirotkina and Tatiana Venediktova (eds.), Free Verse and Free Dance: Embodied Sense in Motion, Papers of the international conference organized by the Faculty of Psychology, Faculty of Arts and Faculty of Philology, of the Moscow State University, 1-3 October 2010, 70-80.

Quintilian, 1922, The Institutio Oratoria of Quintilian, translated by Harold Edgeworth Butler, Cambridge, MA: Harvard University Press.

Radke-Stegh, Marlis, 1978, Der Theatervorhang: Ursprung, Geschichte, Funktion, Meisenheim am Glan: Hain.

Rahill, Frank, 1967, The World of Melodrama, University Park: Pennsylvania State University Press. 

Raimondi, Ezio (ed.), 1984, Il Sogno del coreodramma: Salvatore Viganò, poeta muto, Bologna: Mulino. 

Ralph, James, 1973 [1728], TheTouch-Stone: or, Historical, Critical, Political, Philosophical, and Theological Essays on the Reigning Diversions of the Town, New York: Garland. 

Rantala, Jussi, 2013, Ludi Saeculares of Septimius Severus as a Manifestation of the Golden Age, Tampere: Tampere University Press. 

Raymond, Emanuelle, 2013, “Gaius Cornelius Gallus,” in Thea S. Thorsen (ed.), The Cambridge Companion to Latin Love Elegy, 59-67.

Rebane, Aavo, 2017, Live conversation with Heili Einasto regarding the Pantomiimi- ja Plastikastuudio. 

Rebjekow, Jean-Christoph, 1991, “Diderot et la pantomime: vers une nouveau ‘genre’ musical,” Francofonia 19, 61-73.

Reich, Hermann, 1903, Der Mimus, 3 vols., Berlin: Weidmannsche Buchhandlung. 

Reid, Peter, 1991, The Complete Works of Rather of Verona, translated by Peter Reid, Binghamton: Medieval & Renaissance Texts and Studies.

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Reinking, Wilhelm, 1979, Spiel und Form, Hamburg: Christians.

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Remann, Micky, 2007, “Paul Scheerbart – Prä-psychedelisches Perpetuum Mobile der architektur-literarischen Avantgarde,” video lecture produced by Entheovision 4-Medienprojekt PSI-TV, posted on Archive.org.

Rémy, Tristan, 1954, Jean-Gaspard Deburau. Paris: L’Arche.

_____, 1964, Georges Wague: le mime de la belle époque, Paris: Girard.

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_____, 1898, Contes de la décadence romaine, Paris: Fasquelle.

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Robert, Louis, 1930, “Pantomimen im griechischen Orient,” Hermes 65, 106-22.

Robert, Yann, 2015, “Mercier’s Revolutionary Theater: Reimagining Pantomime, the Aesthetic of the Unfinished, and the Politics of the Stage,” Studies in Eighteenth Century Culture 44, 185-206.

Roberto, Umberto, 2010, “The Circus Factions and the Death of the Tyrant: John of Antioch and the Fate of the Emperor Phocas,” in Falko Daim and Jörg Drauschke (eds.), Byzanz –das Römerreich im Mittelalter Teil 1, Welt der Ideen, Welt der Dinge, Mainz: Römisch-Germanisches ZentralmuseumForschungsinstitut für Vor- und Frühgeschichte, 55-77.

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Roueche, Charlotte, 1993, Performers and Partisans at Aphrodisias in the Roman and Late Roman Periods: A Study Based on Inscriptions from the Current Excavations at Aphrodisias in Caria, London: Society for the Promotion of Roman Studies.

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Rolfe, Bari (ed.), 1979, Mimes on Miming, Los Angeles: Panjandrum Books.

Rommel, Otto, 1952, Die Alt-Wiener Volkskomödie. Ihre Geschichte vom barocken Welt-Theater bis zum Tode Nestroys, Vienna: Schroll.

Rosenberg, Marvin, 1992, The Masks of Hamlet, London: Associated University Presses.

Roswitha, 1923, The Plays of Roswitha, translated by Christopher St. John, London: Chatto and Windus.

Roueché, Charlotte, 1993, Performers and Partisans at Aphrodisias in the Roman and Late Roman Periods, Leeds: Society for the Promotion of Roman Studies.

_____, 2009, “A World Full of Stories,” in P. Rousseau and M. Papoutsakis (eds.), Transformations of Late Antiquity: Essays for Peter Brown, Vol. 2, Farnham: Ashgate, 177-186. 

Romanelli, Pietro, 1931, “Nuovi frammenti degli Atti dei ludi secolari di Settimio Severo (a. 204),” Nota Scavi 7, 313–45

Roncaglia, Carolynn, 2015, “Pliny Country Revisited: Connectivity and Regionalism in Roman Italy,” in John Bodel and Nora Dimitrova (eds.), Ancient Documents and Their Contexts, Leiden: Brill, 199-211. 

Rosenblum, Morris, 1961, Luxorius: A Latin Poet Among the Vandals, New York: Columbia University Press.

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Rousseau, James, 1842, Physiologie du Robert Macaire, illustrations de H. Daumier, Paris: Laisné.

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Rudman, Sandra, 2019, Email communication, Subject heading, “Chilean pantomime,” August 5, 2019.

Ruggiero, Elizabetta, 1996, “Alexander Rumnev and the New Dance,” Experiment 2, 1, 221-228.

_____, 1999, “Aleksandr Rumnev: il gesto e la pantomima,” in Nicoletta Misler (ed.), In principio era il corpo…l’Arte del Movimento a Mosca negli anni ‘20, Milan: Electa, 80-85. 

Rügner, Ulrich, 1990, Filmmusik in Deutschland zwischen 1924 und 1934, Hildescheim: Ohms.

Rumnev, Alexander, 1962 ния киноактёра [Pantomime in the system of education of the actor], Moscow: All-Union State Institute of Cinematography. (See pdf of References for Cyrillic title.)

_____, 1964, В Nантомиме: Tеаtр Кино [On Pantomime: Theater, Cinema], Moscow: Iskusstvo. (See pdf of References for Cyrillic title.)

_____, 1996 [1964], “Before Me Moves the Past,” Experiment 2, 1, 229-240.

Ruricius of Limoges, 1999, Ruricius of Limoges and Friends: A Collection of Letters from Visigothic Gaul, translated by Ralph W. Mathisen, Liverpool: Liverpool University Press.

Rūtentāls, Ansis, 2008, Skana. Krāsa. Kustiba, Riga: Juventus izdevums.

Ruyter, Nancy, 1979, Reformers and Visionaries: the Americanization of the Art of Dance, New York: Dance Horizons.

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_____, 2009, “Le ‘corps imprononcable’ de la pantomime fin de siècle: de la defection du verbe à l’absolu de l’image,” in Arnaud Rykner (ed.), Pantomime et théâtre du corps, Rennes: Presses Universitaires de Rennes, 77-91.

_____, 2014, Corps obscènes: pantomime, tableau vivant et autres images pas sages, Paris: Orizons.

Rycerze Króla Artura, 1981, program for the pantomime Rycerze Króla Artura, Wroclaw: Wroclaw Pantomimy Teatr.

Ryzhykov, Artem, “Trailer Performance of King Mindaugas – Lithuania’s Creation. 1253-1263,” video of trailer for pantomimic project on King Mindaugas directed by Modris channel posted on the Artem Ryzhykov YouTube channel. 

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Scheerbart, Paul, 1977, Gesammelte Arbeit für das Theater, Vol. 2, Munich: edition text + kritik.

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_____, 2009, “Ein wahrer geistiger Tänzpartner von seltenem Einfühlungsvermögen: Hugo von Hofmannsthals Pantomimen für Grete Wiesenthal,” in Gabrielle Bradstetter and Gunhild Oberzaucher-Schüler (eds.), Mundart der wiener Moderne: Der Tanz der Grete Wiesental, Munich: Kieser, 151-166.

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_____, 1995,Tagebuch 1923-1926, Vienna; Verlag der Österreichischen Akademie der Wissenschaften.

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_____, 2001,Theateraufsätze,introduced by Brian Keith-Smith, Lewistown: Mellen Press.

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Sheidley, William, 1993, “Hamlet, Tragic Pantomime in Three Acts, A Ballet Libretto by Louis Henry,” Hamlet Studies 15, 1-2, 54-70.

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Sládek, Milan and Frank Meyer (eds.), 1985, Pantomimentheater Köln, Cologne: Bund Verlag.

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_____, 1995, “The Pantomime Julius Apolaustus,” Greek, Roman and Byzantine Studies, 263-292.

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Smith, Marian, 2000, Ballet and Opera in the Age of Giselle, Princeton: Princeton University Press. 

Smużniak, Karol, 1985, Wrocławski Teatr Pantomimy, 1956-1978: kronika, dokumentacja, Wrocław: Wydawn, Uniwersytetu Wrocławskiego.

_____, 1991, Wrocławski Teatr Pantomimy: mit w teatrze Henryka Tomaszewskiego, Wrocław: Zakład Narodowy im. Ossolińskich.

_____, 2006, Tragiczne gry: monografia dokumentacyjna ostatniego choreodramu pantomimicznego Henryka Tomaszewskiego, Zielona Góra: Oficyna Wydawnicza Uniwersytetu Zielonogórskiego

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Soubeyran, Jean, 1963, Die wortlose Kunst: Lehrbuch der Pantomime, translated by Ellen Dorn, illustrations by Angelika Morkel Lülsdorf, Velber bei Hannover: Friedrich.

Soum, Corrine, 2003, “Decroux, l’insaisissable,” in Patrick Pezin (ed.), Étienne Decroux, mime corporel, Saint-Jean-de-Védas: L’Entretemps, 405-420.

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Spieth, Alexander, 2007, Napoleon’s Sorcerers: The Sophisians, Newark, Delaware: University of Delaware Press.

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“Stacia Napierkowska on film,” 2016, web page on the the actress Stacia Napierowska posted on the website Silents, Please!: https://silentsplease.wordpress.com/2016/05/29/napierkowska/. 

Starks, John, 2008, “Pantomime Actresses in Latin Inscriptions,” in Edith Hall and Rosie Wyles (eds.), 2008, New Directions in Ancient Pantomime, Oxford: Oxford University Press, 110-145.

Starobinski, Jean, 1970, Portrait de l’artiste en saltimbanque, Geneva: Skira.

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_____, 1903, The Rubaiyat, Poem by Omar Khayyam, New York: Werner.

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Stendhal [Henri-Marie Beyle], 1957 [1824], Life of Rossini, translated by Richard Coe, New York: Criterion. 

Stone, Shelley, 1994, “The Toga: From National to Ceremonial Costume,” Judith Lynn Sebesta and Larissa Bonfante (eds.), The World of Roman Costume, Madison: University of Wisconsin Press.

Storey, Robert, 1978, Pierrot, A Critical History of a Mask, Princeton: Princeton University Press.

_____, 1985, Pierrots on the Stage of Desire: Nineteenth-Century French Literary Artists and the Comic Pantomime, Princeton: Princeton University Press.

Strodtmann, Johann Christian, 1749, Abhandlung von den Pantomimen, Hamburg: Geissler.

Strong, Roy, 1973, Splendor at Court: Renaissance Spectacle and the Theater of Power, New York: Houghton Mifflin.

Strong, Tracy, 1997, “Theatricality, Public Space, Music and Language in Rousseau,” paper delivered at the After Postmodernism Conference, University of Chicago, available online the International Focusing Institute website.

Sullivan, Lawrence, 1995, “Arthur Schnitzler’s The Veil of Pierrette,” Europa Orientalis 14, 2, 263-280.

Summers, Kirk, 1996, “Lucretius’ Roman Cybele,” in Eugene Lane (ed.), Cybele, Attis, and Related Cults: Essays in Memory of M. J. Vermaseren, Leiden: Brill, 337-365.

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Syme, Ronald, 1968, Ammianus and the Historia Augusta, Oxford: Clarendon Press.

Szymula, Joanna, 2015, “Świeto teatru. Bim-Bom,” posted online @iBedeker.pl.

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_____, 1914, Dialogus, Agricola, Germania, translated by William Peterson, London: Heinemann. 

_____, 1931, Histories: Books 4-5. Annals: Books 1-3, translated by Clifford H. Moore and John Jackson, Cambridge, MA: Harvard University Press.

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Tanzfilminstitut, 2007, Documentary on Ilka Schönbein’s Winterreise produced by the Deutsches Tanzfilminstitut Bremen posted by the Tanzfilminstitut YouTube channel.

Teatro del Silencio, 2011-2018, Video documents of performances by the Teatro del Silencio posted on the Teatro del Siencio Vimeo channel.

_____, 2017, website for the Teatro del Silencio performance group @chilescena.cl.

Teatro Nescafé de los Artes, 2015, “A 65 años de los mimos de Noisvander: rescatando el arte del silencio,” commentary on and remembrance of Enrique Noisvander posted on the Teatro Nescafé de los Artes website @teatro-nescafe-delasartes.cl.

Teatro Torino (Il), 2017, “1928-03-06 Teatro della pantomime futurista diretto da Enrico Prampolini,” web page on futurist pantomime performance in Turin on the website for Il Teatro Torino, section on productions for 1927-1928, online @ teatrotorino.unito.it

Teatur Dvijenie, 2012, Documentary television film about Veljo Goranov, posted on the OfWarThe YouTube channel. 

Tenisons, Modris, 2010, videos of film excerpts depicting pantomimic work of Modris Tenisons and his followers, including the Vidmantas Baciulis documentary film on Modris Tenisons posted on the Modris Tenisons YouTube channel. 

Tertullian, 1842, Tertullian, translated by C. Dodgson, Vol. 1, Oxford: Parker.

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Théâtre du Mouvement, 2018, Website for the company @theatredumouvement.fr.

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Theatrum, 2015ff., Website Listing of All Known Ancient Roman Archeological Sites, published by Direktion Landesarchäologie Mainz and Rheinland Pfalz General Direktion Kulturelles Erbe.

Théâtre Vidy-Lausanne, 2014, Interview with Amit Drori about his performance of Savannaposted on the Théâtre Vidy-Lausanne YouTube channel. 

TheDedochek, 2011, “ТЕАТР ГЕДРЮСА МАЦКЯВИЧЮСА,” a series of video documents of plastic drama performances staged by Giedrius Mackevičius posted on the TheDedochek YouTube channel.

Themistius, 2000, The Private Orations of Themistius, translated by Robert Penella, Berkeley: University of California Press.

Therenty, Marie-Ève, 2010, “Un comique trans: Robert Macaire. Transmédialité et transgénéricité d’une figure nationale,” Insignis 1: Trans(e), 25-35.

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Thomas, Seth, 2013, “Meyerhold’s Biomechanics,” video lecture and and demonstration by graduate acting class at the University of Iowa, Seth Thomas YouTube channel. 

Thomko, Linda, 2005, “Magri’s Grotteschi,” inRebecca Harris-Warwick and Bruce Alan Brown (eds.), The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and His World, Madison: University of Wisconsin Press, 151-172.

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Tilburg, Patricia, 2009, Colette’s Republic: Work, Gender, and Popular Culture in France, 1870-1914, New York: Berghahn.

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Torelli, Mario, 2000, The Etruscans, New York: Rizzoli. 

Torninäitus, 1989, Video of Maret Kristal’s Sanctus performance in the Kiek in de Kök, Tallinn, Estonia in the Estonian National Broadcast (ERR) Archives, online @arhiiv.err.ee. 

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Trubotchkin, Dmitri, 2002, “On Tairov’s Phaedra in Kamerny Theatre (Moscow),” Didaskalia5, 1, online at didaskalia.net/issues/vol5no1/tairov/tairov.html.

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Tuglas, Friedebert, 1982, Riders in the Sky, translated by Oleg Mutt, Tallinn: Perioodika.

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Typaldos, Sylvia, 1993, Liner notes to a recording of Charles Tomlinson Griffes, The Kairn of Koridwen, performed by Ensemble M, directed by Emil Decou, New York: Koch International.

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Vaccarino, Elsa (ed.), 1998, Giannina Censi: Danzare il Futurismo, Milan: Electa.

Valens, Vettius, 2010, Anthologies, translated by Mark Riley, posted by the translator on his website hosted by California State University Sacramento.

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Vega, Emilio Peral, 2008, De un teatro en silencio. La pantomima en España de 1890 a 1939, Barcelona: Anthropos.

_____, 2015, Pierrot/Lorca: White Carnival of Black Desire, Woodbridge: Tamesis.

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_____, 1819, La Spada di Kenneth, ballo eroica, Venice: Rizzi.

_____, 1819, I Titani, ballo mitologico, Milan: Pirola.

_____, 1826, Giovanna d’Arco, ballo storico in cinque atti, Naples: Flautina. 

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_____, 2012b, Pantomimisches Lernen im Deutschunterricht, Baltmannsweiler: Schneider.

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Waldrep, Shelton, 2015, Future Nostalgia: Performing David Bowie, New York: Bloomsbury.

Walker, Katherine Sorely, 2009, Robert Helpmann: A Rare Sense of Theatre, Alton: Dance Books.

Wallace-Hadrill, Andrew, 1994, Houses and Society in Pompeii and Herculaneum, Princeton: Princeton University Press.

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_____, 2012, “The nature and representation of competition in pantomime and mime,” in Johannes Nollé, Kathleen Coleman, Jocelyne Nelis-Clément, and Pierre Ducrey (eds.), L’organisation des spectacles dans le monde Romain: huit exposés suivis de discussions, Geneva: Vandœuvres, 221-260.

_____, 2017, “Reperformance and Embodied Knowledge in Pantomime,” in Richard Hunter, Anna Uhlig (eds.), Imagining Reperformance in Ancient Culture: Studies in the Traditions of Drama and Lyric, Cambridge: Cambridge University Press, 262-279. 

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_____, 1982, “The Empress of New Foundland: a spectacular mime play in three acts,” translated by Anthony Vivis with an introduction by Julian Hilton, in E. S. Schaffner (ed.), Comparative Criticism, Vol. 4, The Language of the Arts, Cambridge: Cambridge University Press, 233-268. 

Wedekind, Tilly, 1969, Lulu: die Rolle meines Lebens, Munich: Rütten & Loening.

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Westbrook, Nigel, 2013, An Architectural Interpretation of the Early Byzantine Great Palace in Constantinople, from Constantine I to Heraclius, 2 vols., Doctoral Dissertation: University of Western Australia. 

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Whitby, Michael, 1999, “The Violence of the Circus Factions,” in Keith Hopwood (ed.), Organised Crime in Antiquity, London: Duckworth, 229-251.

White Church Theatre Project, 2016, Website for the company @angefou.co.uk.

Wiedemann, Thomas, 1995, Emperors and Gladiators, London: Routledge.

Wiesenthal, Grete, 1917, Die Biene: Eine Pantomime in zehn Bildern, Berlin: Drei Masken.

_____, 1919, Der Aufstieg: Aus dem Leben einer Tänzerin, Berlin: Rowohlt.

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Williams, Tami, 2012, “The ‘Silent’ Arts: Modern Pantomime and the Making of an Art Cinema in Belle Époque Paris: The Case of Georges Wague and Germaine Dulac,” in André Gaudreault, Nicolas Dulac, and Santiago Hidalgo (eds.), A Companion to Early Cinema, Chichester: Wiley, 99-117.

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Wilms, Anno, 1987, Lindsay Kemp & Company, London: GMP.

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Wilson, James F., 2010, Bulldaggers, Pansies, and Chocolate Babies: Performance, Race, and Sexuality in the Harlem Renaissance, Ann Arbor: University of Michigan Press.

Wilson, Lillian, 1924, The Roman Toga, Baltimore: Johns Hopkins University Press.

Wilson, R. J. A., 1983, Piazza Armerina, Austin: University of Texas Press.

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Wipplinger, Jonathan, 2017, The Jazz Republic: Music, Race, and American Culture in the Weimar Republic, Ann Arbor: University of Michigan Press.

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Wolfram, Herwig, 1988, History of the Goths, translated by Thomas J. Dunlap, Berkeley: University of California Press. 

Worrall, David, 2007, Harlequin Empire: Race, Ethnicity and the Drama of the Popular Enlightenment, London: Pickering and Chatto.

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Yachmeneva, Marianna Maksimovna, 2012, Поэтика театра пластической драмы Гедрюса Мацкявичюса [The Poetics of the Plastic Drama Theater of Giedrius Mackevicius], abbreviated version of the author’s doctoral thesis in conjunction with the oral defense of the thesis posted online cheloveknauka.com. (See the pdf of References for Cyrillic title.)

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Yengibarov Archive, 2010-2016, Video clips of performances by Leonid Yengibarov posted by Berikaoba and Aram Khojoyan, Armine Geghamyan, RusCircusRu channels on YouTube.

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Zamfir, Korinna, 2013, Men and Women in the Household of God: A Contextual Approach to Roles and Ministries in the Pastoral Epistles, and Prophets and Prophecy in Jewish and Early Christian Literature, Göttingen: Vandenhoeck and Ruprecht.

Zhghenti, Inga, 2014, “Alienation in the Dumb Plays of Samuel Beckett (Act without Words I and Act without Words II),” Humanities and Social Sciences Review 3, 2, 429-437, online @universitypublications.net.

Zilliacus, Claes, 1993, “Act without Words I as Cartoon and Codicil,” Samuel Beckett Today/Aujord’hui 2, 295-304.

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