Feel free to print out or copy this version of the teacher's guide to use as you like.  Or download the WORD version.
 

F  I  N  T  U  S  H  E  L theMIMEworkshop 708 Aston Avenue Santa Rosa CA 95404 fintushel@netzero.net

 

Language Through The Looking Glass

A Romp Through the Mysteries of the Language Arts

or
BEWARE THE SINGING MIME!

(Grades 3-12)

 

What is language?  What are words and how do they mean things?  With simple colorful props and his own amazingly mutable body, mime, actor, and science fiction author Eliot Fintushel shares and embodies the verse of Lewis Carroll, both narrative and nonsense.  "Jabberwocky" and "The Walrus and the Carpenter," come to life, as an umbrella becomes the sun, a sword, or a dragon's jaws, and a hand becomes, well--everything.  Here is a visual celebration of some of the mysteries of literature and of language.
 

 

 

Here's the line-up of stage events:

 

l MASK: How a simple face mask can convey an astonishing variety of feelings, its "meaning" changing with the posture of the wearer--just as words change meaning according to intonation.

 

l PROP: How a simple object can be seen as an astonishing variety of things, depending how it is used--just as words change meaning according to context.

 

l Statement Of Theme:

 

l GIBBERISH, Depending on the speed and quality of voice with which they are pronounced, these syllables become either sense or nonsense:

 

l THE MODEL OF A MODERN MAJOR GENERAL: Gilbert & Sullivan's song (from about a hundred years ago), plays with words as sound, speed and texture.  We dramatize these effects by singing the song with increasing speed, culminating in a beat-the-clock execution of it in slightly over a minute, alas--followed by the execution of the unsuccessful performer by means of a plunger-activated exploding umbrella that displays the WORD (NOISE?):

 

 

l JABBERWOCKY by Lewis Carroll--performed with only an umbrella as absolutely everything.  THUS--how a word, beginning as mere sound ("brillig, mimsy, borogove"), like a prop (the umbrella) actually can come to mean something.

 

l RUSSIAN AND TURK: In this anonymous old verse, the transformation of words to noises to words is accomplished because the words are names, and foreign ones at that (to us, that is).  We begin with an observation on the etymology of the name "Fintushel!" which is now merely a sound, but which probably originated from the Yiddish (i.e., Medieval High German) words for "good" and "buttocks."

 

 

l FATHER WILLIAM: With this Lewis Carroll verse, supposedly a didactic dialogue between father and child, we move on to the use of words as not just meaningless sounds but as SILLINESS, absurdity, nonsense.  The meanings are there, all right, but they are just plum crazy.

 

l THE WALRUS AND THE CARPENTER: Another  narrative verse by Lewis Carroll, this is famous for its near-mathematical use of words to refer to impossibilities (a winged pig, the sun out at night) and TAUTOLOGIES (wet sea, dry sand, clouds invisible in a cloudless sky).

 

l WHAT'S NEXT?! (Finale): The audience creates a story out of nothing, and Eliot performs it.  (AUDIENCE PARTICIPATION)

 

 

 

 

PRE-SHOW ASSIGNMENT:    Ask students to spot  these objects in the show and see what they represent: a hot water bottle, a candle, a broom, a waste basket, a mop head, a sock, a turkey baster, a tuxedo jacket, a vegetable steamer, a football, a dust mop, a feather duster . . .

 

 

The following can be used both as . . . . . .

PREPARATORY & FOLLOW-UP EXERCISES:

• Make a puppet of an object found in the kitchen.

• Find out the origin of their first and last names--or to make one up!

• Compose a poem of mostly made-up words.  Then translate it into real English!

• A Contest:  How fast you can recite a verse of Major General?  Acting students often do this as an exercise in elocution.  Make every syllable as distinct as you can. (See text infra.)

• Gibberish Games:  Imagine what it would be like to watch a TV commercial in an unknown language.  Sell something to the class as a whole, as in a TV commercial, but using only Gibberish (words--just sounds, really--made up on the spot).  This can also be done by the whole class in couples, one buying and one selling--then switch.

• Circle Story:  Sitting in a circle, each person in turn adds one new sentence to an evolving story.  A variation (This is more difficult!): Each person may add only one word.

• Prop Rounds:  Present to the class any common object--e.g., a broom, a waste basket, a hat--and ask for volunteers to demonstrate what else these things might be!  (E.g., is the broom a telescope, a bugle, a nose?  Is the waste basket a boat, butter churn, a TV set . . . ?)

 

 

 

THE WALRUS AND THE CARPENTER
from Through The Looking Glass by Lewis Carroll

The sun was shining on the sea, Shining with all his might: He did his very best to make The billows smooth and bright-- And this was odd, because it was The middle of the night. The moon was shining sulkily, Because she thought the sun Had got no business to be there After the day was done-- "It's very rude of him," she said, "To come and spoil the fun." The sea was wet as wet could be, The sands were dry as dry. You could not see a cloud, because No cloud was in the sky: No birds were flying overhead-- There were no birds to fly. The Walrus and the Carpenter Were walking close at hand; They wept like anything to see Such quantities of sand: "If this were only cleared away," They said, "it would be grand!" "If seven maids with seven mops Swept it for half a year, Do you suppose," the Walrus said, "That they could get it clear?" "I doubt it," said the Carpenter, And shed a bitter tear. "O Oysters, come and walk with us!" The Walrus did beseech. "A pleasant walk, a pleasant talk, Along the briny beach: We cannot do with more than four, To give a hand to each."

The eldest Oyster looked at him, But never a word he said: The eldest Oyster winked his eye, And shook his heavy head-- Meaning to say he did not choose To leave the oyster-bed.  But four young Oysters hurried up, All eager for the treat: Their coats were brushed, their faces washed, Their shows were clean and neat-- And this was odd, because, you know, They hadn't any feet. Four other Oysters followed them, And yet another four; And thick and fast they came at last, And more, and more, and more-- All hopping through the frothy waves, And scrambling to the shore. The Walrus and the Carpenter Walked on a mile or so, And then they rested on a rock Conveniently low: And all the little Oysters stood And waited in a row. "The time has come," the Walrus said, "To talk of many things: Of shoes--and ships--and sealing-wax-- Of cabbages--and kings-- And why the sea is boiling hot-- And whether pigs have wings." "But wait a bit," the Oysters cried, "Before we have our chat; For some of us are out of breath, And all of us are fat!" "No hurry!" said the Carpenter. They thanked him much for that.

"A loaf of bread," the Walrus said, "Is what we chiefly need: Pepper and vinegar besides Are very good indeed-- Now if you're ready, Oysters dear, We can begin to feed." "But not on us!" the Oysters cried, Turning a little blue. "After such kindness, that would be A dismal thing to do!" "The night is fine," the Walrus said. "Do you admire the view? "It was so kind of you to come! And you are very nice!" The Carpenter said nothing but "Cut us another slice: I wish you were not quite so deaf-- I've had to ask you twice!" "It seems a shame," the Walrus said, "To play them such a trick, After we've brought them out so far, And made them trot so quick!" The Carpenter said nothing but "The butter's spread too thick!" "I weep for you," the Walrus said: "I deeply sympathize." With sobs and tears he sorted out Those of the largest size, Holding his pocket-handkerchief Before his streaming eyes. "O Oysters," said the Carpenter, "You've had a pleasant run! Shall we be trotting home again?" But answer came there none-- And this was scarcely odd, because They'd eaten every one."

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

RUSSIAN AND TURK

--Anonymous

 

THERE was a Russian came over the sea,

Just when the war was growing hot;

And his name it was Tjalikavakaree--

Karindobrolikanahudarot-

Shibkadirova-

Ivarditztova

Sanilik

Danerik

Varagobhot.

 

A Turk was standing upon the shore-

Right where the terrible Russian crossed,

And he cried: "Bismillah!  I'm Ab-El Kor-

Bazarou-Kilgonautosgobross-

Getfinpravadi-

Kligekoladji

Grivino

Blivido-

Jenikodosk!"

 

So they stood like brave men long and well;

And they called each other their proper names,

Till the lockjaw seized them, and where they fell

They buried them both by the Irdesholmmes

Kalatalustchuk

Mischtaribusiclup-

Bulgari-

Dulbary-

Sagharimsing.

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Here are the materials used in FATHER WILLIAM:

 

Young Man................. the audience

Father William........... a small whisk broom, two votive candles, still more pieces of wire coat hanger, yet another section of the plastic shoe rack, a piece of threaded plastic pipe from an old vacuum cleaner or something, some velcro, another one of those little thread-and-leather hinges I've become so fond of making, and lots of hot glue--also a sweeper thingie

Ointment Box............. nested colored plastic boxes connected by heavy thread through holes in the middles of their bottoms

Ma William................ hot water bottle+2 soda caps

An Eel......................... rubber snake, tongue cut off

 

(Rubber snake tongue available to interested parties at Extremely Reasonable Cost.)

 

 

 

FATHER WILLIAM

--from Lewis Carroll's ALICE'S ADVENTURES IN WONDERLAND

 

"You are old, Father William," the young man said,

    "And your hair has become very white;

And yet you incessantly stand on your head--

    Do you think, at your age, it is right?"

 

"In my youth," Father William replied to his son,

    "I feared it would injure the brain;

But now that I'm perfectly sure I have none,

    Why, I do it again and again."

 

"You are old," said the youth, "as I mentioned before,

    And have grown most uncommonly fat;

"Yet you turned a back-somersault in at the door--

    Prey, what is the reason of that?"

 

"In my youth,: said the sage, as he shook his grey locks,

    "I kept all my limbs very supple

By the use of this ointment--one shilling the box--

    Allow me to sell you a couple?"

 

"You are old," said the youth, "and your jaws are too weak

    For anything tougher than suet;

Yet you finished the goose, with the bones and the beak--

    Pray, how did you manage to do it?"

 

"In my youth," said his father, "I took to the law,

    And argued each case with my wife;

And the muscular strength, which it gave to my jaw,

    Has lasted the rest of my life."

 

"You are old," said the youth, "one would hardly suppose

    That your eye was as steady as ever;

"Yet you balanced an eel on the end of your nose--

    What made you so awfully clever?"

 

"I have answered three questions, and that is enough,"

    Said his father.  "Don't give yourself airs!

Do you think I can listen all day to such stuff?

    Be off, or I'll kick you downstairs!"

 

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1) Here's Lewis Carroll's original, from THROUGH THE LOOKING GLASS:       JABBERWOCKY   'Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the wome raths outgrabe.   "Beware the Jabberwook, my son, The jaws that bite, the claws that catch. Beware the Jubjub bird, and shun The frumious Bandersnatch!"   He took his vorpal sword in hand: Long time the manxome foe he sought- So rested he by the Tumtum tree, And stood awhile in thought.   And, as in uffish thought he stood, The Jabberwock, with eyes of flame, Came whiffling through the tulgey wood, And burbled as it came!   One, two! One, two! And through and through The vorpal blade went snicker-snack! He left it dead, and with its head He went galumphing back.   "And hast thou slain the Jabberwock? Come to my arms, my beamish boy! O frabjous day!  Callooh!  Callay!" He chortled in his joy.   'Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the wome raths outgrabe.

2) An unknown tongue may seem gibberish.  Here is a version in French. . .        JABBERWOCKY---in French   Il brilgue: les tôves lubricilleux Se gyrent en vrillant dans le guave, Enmîmés sont les borogoves, Et le mômerade horsgrave.   "Garde-toi du Jabberwock, mon fils! La gueule qui mord; la griffe qui prend! Garde-toi de l'oiseau Jubjube, évite Le frumieux Bandersnatch."   Son glaive vorpal en mail il va- T-à la recherche du fauve manscant; Puis arriveé à l'arbre Té-Té, Il y reste, réfléchissant.   Pendant qu'il pense, tout uffusé Le Jabberwock, l'oeil flamboyant, Vient siblant par le bois tullegeais, Et burbule en venant.   Un deux, un deux, par le milieu, Le glaive vorpal fait pat-à-pan! La bête défaite, avec sa tête, Il rentre gallomphant.   "As-tu tué le Jabberwock? Viens à mon coeur, fils rayonnais! O jour frabbejeais! Calleau! Callai!" Il cortule dans sa joie.   Il brilgue: les tôves lubricilleux Se gyrent en vrillant dans le guave, Enmîmés sont les borogoves, Et le mômerade horsgrave.

 

THE MODEL OF A MODERN MAJOR-GENERAL

(from PIRATES OF PENZANCE by Gilbert & Sullivan)

I am the very model of a modern Major-General,

I've information vegetable, animal, and mineral,

I know the kings of England, and I quote the fights historical

From Marathon to Waterloo, in order categorical;

I'm very well acquainted, too, with matters mathematical,

I understand equations, both the simple and quadratical,

About binomial theorem I'm teeming with a lot o' news,

With many cheerful facts about the square of the hypotenuse.

In short, in matters vegetable, animal, and mineral,

I am the very model of a modern Major-General.

I know our mythic history, King Arthur's and Sir Caradoc's;

I answer hard acrostics, I've a pretty taste for paradox,

I quote in elegiacs all the crimes of Heliogabalus,

In conics I can floor peculiarities parabolous;

I can tell undoubted Raphaels from Gerard Dows and Zoffanies,

I know the croaking chorus from the Frogs of Aristophanes!

Then I can hum a fugue of which I've heard the music's din afore,

And whistle all the airs from that infernal nonsense Pinafore.

In short, in matters vegetable, animal, and mineral,

I am the very model of a modern Major-General.

In fact, when I know what is meant by "mamelon" and "ravelin",

When I can tell at sight a Mauser rifle from a javelin,

When such affairs as sorties and surprises I'm more wary at,

And when I know precisely what is meant by "commissariat",

When I have learnt what progress has been made in modern gunnery,

When I know more of tactics than a novice in a nunnery--

In short, when I've a smattering of elemental strategy,

You'll say a better Major-General has never sat a gee.

In short, in matters vegetable, animal, and mineral,

I am the very model of a modern Major-General.