Jewish Invention Myths: Modern Pantomime
Moving on to yet another ‘Jewish Invention’ myth we have the claim by Slava Bazarsky that jews ‘created’ ‘modern pantomime’ when he lists a jew as its creator:
‘Marcel Marceau (Iser Ioselovich) - modern pantomime’ (1)
Now this is predictably complete and utter nonsense because pantomime has ancient roots in ancient Greece but is best known and was widely performed in the Roman Empire. (2)
Indeed, the impact of Greco-Roman pantomime was felt until around the eighteenth century as Alessandra Zanobi explains:
‘The cultural and historical importance of ancient pantomime is not confined to the ancient world, since this theatrical medium had a pivotal role in the rise of ballet as an autonomous art form in the age of Enlightenment. Dance reforms developed in the eighteenth century took ancient Greco-Roman pantomime as the model to set against the contemporary practice of dance as an ornamental divertissement devoid of any meaning and emotional content and consisting of a sheer display of technical virtuosity. The revival of interest in this ancient genre started through popularisation of Lucian's dialogue On the Dance, in works such as Claude Ménestrier's Des Ballets Anciens et Moderns (1682). It was most probably the English ballet-master John Weaver (1673-1760) who first attempted to revive ancient pantomime with his staging of The Love of Mars and Venus in 1717 at Drury Lane and Orpheus and Eurydice the following year. Later in the century, the two most important eighteenth-century dance reformists, Gasparo Angiolini (1731-1803) and Jean-Georges Noverre (1727-1810), repeatedly expressed in their writings the intentions to follow in the steps of ancient pantomime and their adoption of Lucian's auctoritas as the guiding principle in their productions. The new art form, the ballet d'action, thus found in Greco-Roman pantomime an ancient and authoritative antecedent, which granted intellectual and aesthetic propriety to the new dance form; even more importantly, ancient pantomime provided firm evidence that dance had once been an independent and dignified art able to narrate complex stories as well as express a wide range of human emotions.’ (3)
The Greco-Roman pantomime in time developed into the comedy ‘harlequinade’ by the eighteenth century which lasted in popularity till the outbreak of the Second World War in 1939, but out of it developed the modern pantomime in Great Britain during the 1840s. (4)
So, no Marcel Marceau – who wasn’t born Iser Ioselovich but actually as Marcel Mangel but was indeed jewish (5) and his cousin was jewish ‘Holocaust rescuer’ Georges Loinger whose ‘Holocaust’ story I have previously debunked as largely made-up nonsense – (6) didn’t invent ‘modern pantomime’ as he wasn’t actually involved in pantomime at all but rather was simply a famous jewish mime artist of the 1940s to 1970s who copied Charlie Chaplin – who remember wasn’t jewish – (7) in his persona of ‘Bip the Clown’ – taken from Chaplin’s famous ‘Little Tramp’ - and who revolutionized nothing about mime let alone pantomime. (8)
So no jews didn’t create modern pantomime: the British did!
References
(1) https://slavaguide.com/en/blog/jewish-inventors-and-jewish-inventions
(2) R. J. Broadbent, 1901, ‘A History of Pantomime’, 1st Edition, Simpkin & Marshall: London, pp. 21-34
(3) http://www.apgrd.ox.ac.uk/learning/short-guides/ancient-pantomime-and-its-reception
(4) https://www.economist.com/britain/2014/12/17/its-behind-you
(5) Tsilla Hershco, 2007, ‘Jewish Resistance in France During World War II: The Gap between History and Memory’, Jewish Political Studies Review, Vol. 19, pp. 1-2
(6) See my article: https://karlradl14.substack.com/p/the-myth-of-georges-loinger
(7) See my article: https://karlradl14.substack.com/p/was-charlie-chaplin-jewish
(8) https://bypassmatrix.com/marcel-marceauexploring-the-life-and-legacy/