John H. STARKS, Jr. [vo]cales vultus:Pantomime Actresses in Latin ...

John H. STARKS, Jr. [vo]cales vultus:Pantomime Actresses in Latin Imperial Inscriptions
jstarks@agnesscott.edu
The dramatic genre that Romans called ‘pantomime’ typically featured male principal actors who
danced multiple solo roles and captivated audiences with their silent, expressive gesticulation
(cheironomia) and their seamless transitions between male and female characters. Lucian’s de Saltatione,
Libanius’ Oration 64, and numerous inscriptions honoring pantomime dancers as victorious stars leave
the impression that the lead dancers were always men, and that women served only as ‘backup singers’
for those dancers. Although female pantomime dancers appear in Byzantine literary sources, evidence for
pantomime actresses in the imperial Roman West has often been overlooked or insufficiently analyzed.
Seneca sarcastically mentions pantomimae with enormous dowries (Helv. 12.6); elsewhere he scolds
noble husbands and wives showing off their newest pantomime skills on private stages (Nat. 7.32.3). The
octogenarian noblewoman Aelia Catella danced to the accompaniment of an infirmed chorus (Cass.Dio
61.19.2), a production Nero probably staged as a spectacular twist on the youthful energy of pantomime.
A late-first century epitaph from Gaul reads Hellas pantomim(a) hic quiescit, ann(is) xiiii. Sotericus
fil(iae), (ILS 5210a). Some scholars assume that Hellas was a boy (Leppin Histrionen) or omit reference
to her gender (Csapo/Slater Context of Ancient Drama). But Hellas is a Greek feminine, and thus always a
woman’s name (Solin,CIL 6,12). At her young age she may have been a member of a corps de ballet or
ensemble, such as the pantomimic cast of the ‘Judgment of Paris’ at Apul. Met. 10.30ff. But considering
that we know of other young saltatrices (9, CIL 6.10143; 14, CIL 8.12925), a ten-year-old mima (IGUR
275), and a twelve-year-old boy who “danced and pleased crowds (CIL12.188),” Hellas’ specific
designation as a pantomima may indicate that she danced leads.
The pantomime Actius Anicetus (CIL10.1946) and his troupe are greeted in Pompeii by fans (fanatici
Actiani Anicetiani, CIL4.2155) several times (Franklin AJPh 1987). An Actius Castrensis is saluted as
Anicetianus (4.2413d) alongside what I believe is a truncated feminine form of the same term
(Aniceti)ania; a Chloe Acti Castre(n)sis appears at CIL 4.1646. Chloe or some other female pantomime
may be the (Aniceti)ania alluded to. Castrensis was probably a pantomime of Actius Anicetus, and he
may have managed/owned or worked with a pantomime actress whom the greeter knew, though not by
name. More revealing is a histrionica Actica noted on a bathroom wall (4.5233) and an Actica at the large
theater (4.2463b). Since these were written about the time histrio was becoming a popular title for
pantomime actors (Petr. 52.9), I take histrionica as a hapax legomenon indicating that Actica was a
pantomime actress of Actius Anicetus and/or Castrensis. The multiple, colloquial attestations of actresses,
the salutation to performers whose names may have been unknown, and the possible partnership with a
male performer all add to our understanding of pantomime troupes.

Sophe Theorobathylliana arbitrix imboliarum (CIL 6.10128) is recognized on a bone tablet.
Theorobathylliana is apparently a composite of the pantomimes Theoros (CIL 6.10115; Theoriani 4.1891)
and Bathyllus (Ath. 1.20.d-e). Sophe was a head mistress, manager/ choreographer and/or principal
performer among emboliariae, performers of entr’actes (in her case, likely pantomimic). The fabric of
this portable artifact, its irregular spelling for (e)mboliar(iar)um, and the unusual, epithet suggest that it
may be a personal advertisement or résumé of Sophe’s professional skills. She may have worked for
Theoros and Bathyllus individually or as partners, or she may have specialized in their pantomimic style
(Bathyllus invented a comic style of pantomime) or styles (if Theoros danced tragic pantomime, Sophe
might be advertising her versatility).
Manganaro SicGym 1970.77-79 reconstructs a Roman epitaph to a pantomime actress of the
second to third century CE who, like the pantomime Vincentius (AE 1956.122; Csapo/Slater 5.36),
proclaims her exceptional virtue to refute stereotypes about performers’ disreputable lifestyles. Her
onstage performance “in mischievous playacting (lascivo lusu)” pleases the gods just as much as her
morality and devotion to family. Manganaro then restores the key lines, [saevos Ae]acidas saltavi,
carmen amavi, /[ob nover]cales vultus fui cognita digne, “I danced the savage ‘Sons of Aeacus,’ I loved
the song, I was deservedly well known for portrayal of stepmothers.” Manganaro’s reconstruction oddly
invites readers to proclaim the story of a woman who played insidious stepmothers onstage. This clashes
harshly with her virtues mentioned earlier, so, after examination of the stone in Rome, I reconstruct [et
divas pl]acidas saltavi, “I even danced the roles of kindly goddesses,” and [propter vo]cales vultus fui
cognita digne, “I was duly known for my facial expressions that spoke.” Both these sentiments appear in
Aristaenetus’ late-Greek letter to Panarete (1.26), where he attests the pantomime actress’ representation
of Aphrodite and Polyhymnia, and lauds her ability to “show all sorts of words,” as a silent “orator”
whose body language presents a “versatile silence.” Both women’s positive presentations of goddesses
and their silent, but expressive, faces speak volumes.