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Galeria Copiola
Galeria Copiola (96 BC – 9 AD or after) was an ancient Roman dancer ''(emboliara)'' whom Pliny includes in a list of notable female nonagenarians and centenarians in his ''Natural History''.〔Pliny the Elder, ''Natural History'' 7.158 (= (49 in the Bostock translation )); Tim G. Parkin and Arthur J. Pomeroy, ''Roman Social History: A Sourcebook'' (Routledge, 2007), p. 56.〕 Because of Pliny's notice, Galeria is one of the few performing artists in classical antiquity whose career milestones can be precisely dated.〔John H. Starks, Jr., "Pantomime Actresses in Latin Inscriptions," in ''New Directions in Ancient Pantomime'' (Oxford University Press, 2008), (p. 123. )〕
==Performance genre==
The ''embolimon'' (Greek, literally an "insert") was a musical number performed between the acts of a play. In Roman theatre, the ''embolium'' (Latin, plural ''embolia'') in which Galeria specialized was an interlude, probably solo,〔Starks, "Pantomime Actresses," p. 145.〕 performed by a dancing girl or ''mima''.〔Eric Csapo and William J. Slater, ''The Context of Ancient Drama'' (University of Michigan Press, 1994), pp. 371, 426.〕 The ''embolium'' is treated in modern scholarship as a form of ballet-pantomime requiring turns, leaping, versatility of movement, sudden "freezing," and a particular repertoire of hand gestures.〔Csapo and Slater, ''The Context of Ancient Drama'', p. 372, noting that these techniques are all mentioned in ancient sources.〕
The ''embolium'' interlude was part of the mixed musical-comedy genre called ''mimus''. Roman ''mimus'' was regularly performed without masks, in contrast to virtually every other form of ancient theatre for which female roles were performed by men. ''Mimus'' gave women opportunities to earn a living as professional entertainers,〔Gian Biagio Conte, ''Latin Literature: A History'' (Johns Hopkins University Press, 1994, originally published 1987 in Italian), p. 128.〕 and Galeria's career is evidence of the long-lived acclaim and financial reward they might achieve.〔W.D. Lebek, "Moneymaking on the Roman Stage," in ''Roman Theater and Society'' (University of Michigan Press, 1996) pp. 8–9, 44.〕 Galeria Copiola is one of only four performers of ''embolia'' whose names are preserved, the others being Sophê Theorobathylliana,〔''CIL'' 6.10128 = ''ILS'' 5263, as cited by Starks, "Pantomime Actresses," p. 123ff., who notes that her ''cognomen'' probably has to do with the famed ''mimus'' Bathyllus.〕 Phoebe Vocontia,〔''CIL'' 6.10127 = ''ILS'' 5262, as cited by Starks, "Pantomime Actresses," p. 123.〕 and an Oppius who is the only recorded male ''embolarius''.〔''CIL'' 4.1949, from the Basilica of Pompeii, as cited by Starks, "Pantomime Actresses," p. 123, who notes that in political rhetoric, it was a slur to accuse a man of being an entertainer, and that the graffito may be so intended.〕
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