The aim of the article is to identify the essence of the concept of “pantomimic culture” based on the analysis of the concepts of “culture” and “pantomime”. Research methods. The main methodological principles of the research are scientific objectivity and systematic approaches in the use of complementary methods: theoretical (analysis of cultural, art history and historical literature), empirical and analytical (theoretical and art historical analysis of the phenomenon of “pantomime”). General culturological research methods, historical and analytical methods, epistemological principles of cognition of the essence of the concept of “pantomimic culture” were also used. Scientific novelty. Mutual integration of the development and transformation of the concepts of “culture” and “pantomime” has been analyzed in the context of the social and cultural space evolution. The conceptual and categorical apparatus of the research has been defined, in particular, the definition of the concept of “pantomimic culture” has been proposed. Conclusions. The social and communicative significance of pantomime as a cultural phenomenon is difficult to overestimate, since the pantomime act can be interpreted as an interpretation of national or cosmopolitan culture codes, a social and cultural message, an eloquent action of self-expression, a form of intercultural communication, etc. The pantomime culture is positioned as an interdisciplinary concept, the essential basis of which is the triad: man – culture – gesture that allowed us to define it as a cultural and anthropological concept; the universal language of culture that is characterized by a special sign system and uses various artistic signs (icons, indicators and symbols), endowed with certain properties; a unique means of creative embodiment of emotional collisions between the man, art and society under the conditions of modern stage space.