Before one can begin to consider the origins of Roman pantomime, one must have a clear understanding of the nature of pantomime. This is due to the fact that the nature of the art is in most cases, directly related to its origins. Once the nature of the art has been established, one will clearly see the connection between the latter and it's origins.

The term pantomime, which was, introduced by the Italian Greeks referrs to the actor. The mimer of everything. The pantomime was considered a solo performer who wore a mask, and expressed himself through dance, but did not sing. Rather, a musical group or chorus accompanied the pantomime. This type of performance is usual

The city of Tarquinii has a great deal of evidence in support of the idea that pantomime originated in Etruria. The tomb paintings portray banqueting scenes, dancing and athletics. Vince claims that the importance of these paintings lies in the "typically Greek arts of flute playing and dancing..." Hence, one can see the obvious connection between Etruscian festivals rich with dancing and music and the Roman pantomime similarly rich in the latter.

and he shows us every passion under the control of reason...

This statement implies that these particular censors approved of pantomimic types of drama as opposed to other types as they did not banish it from the city. In contrast to this, Fronto in 163 B.C. writes:

In conclusion, it is clear through an examination of archaeological, textual and representational evidence that the origins of Roman pantomime can be assessed in terms of its nature. For instance, we can conclude from the evidence available that pantomime had origins in not only ancient Greek mythology and tragedy, but also Etruscian dance. It is possible to make this connection through both textual evidence and through an examination of the 'ballet' nature of the art. It is also clear through textual evidence that pantomimes had a duel function to be both pleasurable and ultilitarian. This in turn required the pantomimes to be extremely flexible and versatile in their performing. As a result of its nature, pantomime had a more elite audience. As another result of its nature, pantomime was not considered by the authorities as vulgar and lowly as other forms of drama.

M. Metellus and G. Domitius the censors banished the theatre arts from the city except for a Latin piper with singer and the ludus talaruis.

Another example that illustrates that the Romans held pantomimes in higher esteem than other forms of drama is seen in words of Cassiodorus who claims that Roman pantomime is connected to the Etruscian ludus talaruis:

ly likened to a ballet enactment with a mythical theme. The pantomime usually tended to appeal to higher tastes with its mythical themes but as Grimal implies, could also be comic and erotic.

Some common words found in the essay are:
Metellus Domitius, Lesbonax Mytilene, Syrian Alexandrian, Venus Fury's, Verses Livy, , Hartnoll Roman, Italian Greeks, Etruria Romans, Lucian Samosata, roman pantomime, nature art, origins roman pantomime, origins roman, nature pantomime, origins pantomime, art pantomime, fescennine verses, greek myths, forms drama, origins nature, archaeological textual representational, examination archaeological textual, result nature pantomime, textual representational evidence,
Approximate Word count = 2173
Approximate Pages = 9 (250 words per page double spaced)