Dead in Translation – The Attack On Asia’s Socio-Cultural Originality

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Comedy routine gives voice to speechless man


Click to play

London (CNN) — Lee Ridley staggers onto the stage at London’s Soho Theatre and squints into the darkness at the sell-out crowd. It’s the first paid gig in his short career as a stand-up comedian. The microphone stands in the spotlight in the centre of the stage but Lee doesn’t approach it. He doesn’t need to because he has no voice.

Under the stage name “Lost Voice Guy,” Lee is fast becoming the talk of the town.

Born with cerebral palsy he has been unable to speak since birth. Off-stage he uses a somewhat cumbersome machine which resembles an electric typewriter to convert his words to speech. On stage he uses an iPad with a text-to-voice app.

Lost Voice Guy thanks the audience for their warm welcome and adds: “I haven’t felt this important since the doctors said I was going to be a special child.”

Encouraged by the laughter he continues, referring to his difficulty walking.

“I know what you were thinking when I walked on. It’s OK I’m used to it.”

Having apparently played on the sympathy of the audience he switches the joke.

“You thought ‘here comes another ****** with an iPad.’ Well I’m not. I’m a disabled ****** with an iPad — the difference being I paid for mine with my benefit [welfare] money.” Don’t tell David Cameron. He still thinks I cannot walk, can barely see and have a problem with my bladder. Unfortunately for those closest to the stage — one of those facts is actually true.”

He’s into his stride now and has the crowd on his side.

“In case you were in any doubt I really am disabled. It’s not just really good acting and I’m definitely not just in it for the parking space.

“When I realized I would never be able to talk again I was speechless.”

Ridley continues, talking about his synthesized voice, a mature male English accent which he refers to as a “posh version of Robocop” and demonstrates the limited alternatives he had to choose from including a woman’s voice, American accents and a German translation.

But just when things are proceeding smoothly, disaster strikes and technology kicks him in the seat of his pants. After an uncomfortable silence Ridley recovers with a little improvisation.

“Sorry Ladies and gentlemen, my iPad has just crashed. Where the **** is Steve Jobs when you need him?”

As the laughter continues he’s up and running once more.

“I am not related to Steven Hawking in any way. However I do hate the way people take the *** out of the way he speaks. I can really synthesize with him!

“People have often asked me why I want to put myself in a position where everyone can look and stare at me. The truth is that it happens to me every day any way. At least this way there’s a scheduled time and place for it.”

He finishes his set with an account of his audition for Simon Cowell’s “X-Factor” with a dead-pan spoken-word version of “I believe I can fly” leaving the producers unsure how to handle him. With that he thanks his audience and lurches off the stage with loud cheers ringing in his ears.

Just as Ridley thinks the night cannot get any better he bumps into one of his heroes — not a comedian but the manager of his favorite football team, Newcastle United.

Manager Alan Pardew is warm in his admiration. “Let’s be honest — it takes incredible bravery to do what he’s doing. More bravery than me or any of my players show to do what he’s trying to do. So all I can say is that I wish him all the best in a very tough business. Our business is tough but his is tougher so I wish him all the best.”

I suggest to Ridley that his act creates a dilemma for audiences: in normal circumstances it would be offensive for people to laugh at someone’s disability but Lost Voice Guy invites his audience to laugh along with him at his own disability

Ridley begins typing and about a minute later his machine gives voice to his thoughts. “I’ve also thought that any subject can be joked about if handled correctly. I think I can get away with more because it’s essentially about me. I’d like to think the audience go away with a more positive view about disability.”

The bookings have begun to roll in — Ridley has been hired to perform at the prestigious Edinburgh Festival Fringe, attended by many a talent booker in search of the next comedy breakthrough act.






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Article source: http://www.cnn.com/2012/04/29/showbiz/lost-voice/

Comedy routine gives voice to speechless man


Click to play

London (CNN) — Lee Ridley staggers onto the stage at London’s Soho Theatre and squints into the darkness at the sell-out crowd. It’s the first paid gig in his short career as a stand-up comedian. The microphone stands in the spotlight in the centre of the stage but Lee doesn’t approach it. He doesn’t need to because he has no voice.

Under the stage name “Lost Voice Guy,” Lee is fast becoming the talk of the town.

Born with cerebral palsy he has been unable to speak since birth. Off-stage he uses a somewhat cumbersome machine which resembles an electric typewriter to convert his words to speech. On stage he uses an iPad with a text-to-voice app.

Lost Voice Guy thanks the audience for their warm welcome and adds: “I haven’t felt this important since the doctors said I was going to be a special child.”

Encouraged by the laughter he continues, referring to his difficulty walking.

“I know what you were thinking when I walked on. It’s OK I’m used to it.”

Having apparently played on the sympathy of the audience he switches the joke.

“You thought ‘here comes another ****** with an iPad.’ Well I’m not. I’m a disabled ****** with an iPad — the difference being I paid for mine with my benefit [welfare] money.” Don’t tell David Cameron. He still thinks I cannot walk, can barely see and have a problem with my bladder. Unfortunately for those closest to the stage — one of those facts is actually true.”

He’s into his stride now and has the crowd on his side.

“In case you were in any doubt I really am disabled. It’s not just really good acting and I’m definitely not just in it for the parking space.

“When I realized I would never be able to talk again I was speechless.”

Ridley continues, talking about his synthesized voice, a mature male English accent which he refers to as a “posh version of Robocop” and demonstrates the limited alternatives he had to choose from including a woman’s voice, American accents and a German translation.

But just when things are proceeding smoothly, disaster strikes and technology kicks him in the seat of his pants. After an uncomfortable silence Ridley recovers with a little improvisation.

“Sorry Ladies and gentlemen, my iPad has just crashed. Where the **** is Steve Jobs when you need him?”

As the laughter continues he’s up and running once more.

“I am not related to Steven Hawking in any way. However I do hate the way people take the *** out of the way he speaks. I can really synthesize with him!

“People have often asked me why I want to put myself in a position where everyone can look and stare at me. The truth is that it happens to me every day any way. At least this way there’s a scheduled time and place for it.”

He finishes his set with an account of his audition for Simon Cowell’s “X-Factor” with a dead-pan spoken-word version of “I believe I can fly” leaving the producers unsure how to handle him. With that he thanks his audience and lurches off the stage with loud cheers ringing in his ears.

Just as Ridley thinks the night cannot get any better he bumps into one of his heroes — not a comedian but the manager of his favorite football team, Newcastle United.

Manager Alan Pardew is warm in his admiration. “Let’s be honest — it takes incredible bravery to do what he’s doing. More bravery than me or any of my players show to do what he’s trying to do. So all I can say is that I wish him all the best in a very tough business. Our business is tough but his is tougher so I wish him all the best.”

I suggest to Ridley that his act creates a dilemma for audiences: in normal circumstances it would be offensive for people to laugh at someone’s disability but Lost Voice Guy invites his audience to laugh along with him at his own disability

Ridley begins typing and about a minute later his machine gives voice to his thoughts. “I’ve also thought that any subject can be joked about if handled correctly. I think I can get away with more because it’s essentially about me. I’d like to think the audience go away with a more positive view about disability.”

The bookings have begun to roll in — Ridley has been hired to perform at the prestigious Edinburgh Festival Fringe, attended by many a talent booker in search of the next comedy breakthrough act.






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Article source: http://www.cnn.com/2012/04/29/showbiz/lost-voice/

NCC modernizes ‘Threepenny Opera’

By Annie Alleman
For Sun-Times Media

May 3, 2012 9:58AM



‘Threepenny Opera’

♦ May 10-13

♦ Madden Theatre, 171 E. Chicago Ave., Naperville

♦ Tickets, $10-$8

♦ (630) 637-7469

Northcentralcollege.edu/showtix






Updated: May 3, 2012 9:58AM

Student actors at North Central College will bring Brecht to the stage for a production of “The Threepenny Opera.”

The early-20th century musical by German playwright Bertolt Brecht and composer Kurt Weill will be presented at 7:30 p.m. May 11 and 12 and at 2 p.m. May 13 in the College’s Madden Theatre.

Based on Elisabeth Hauptmann’s German translation of John Gay’s “The Beggar’s Opera,” the play famously asks the question “Who is the greater criminal: he who robs a bank or he who founds one?”

Kelly Howe, assistant professor of theatre at North Central, said the play is meant to leave the audience asking questions.

“It explores the criminal underworld of Victorian London. In particular, you have a couple of different factions depicted. You have the beggars, and you have the prostitutes — the brothel world — and then you also have the thieves,” she said.

One of the play’s main characters is Mr. Peachum, the king of the beggars, who gives the beggars their licenses to beg in the city of London. Macheath is the well-known, infamous and sexy king of the thieves, she said.

All heck breaks loose when Mr. Peachum’s daughter Holly falls for Macheath, which sets off a chain of events.

“Mr. Peachum is very upset his daughter has defected to the thief side, and he decides to make getting Macheath in jail his primary goal,” Howe said. “The rest of the show unfolds from there. Mr. Peachum is not very happy with his daughter starting to consort with the most notorious criminal in all of Victorian London.”

Howe wanted to do a play by Brecht, and her fortunately, her colleague Jeordano “Pete” Martinez, professor of music at the College, had a similar desire to direct the music for “Threepenny Opera.”

“My biggest goal was I wanted students to be able to encounter a particular style of theater, Brechtian performance, that they learn about (in class), but they haven’t had much opportunity to investigate what that kind of performance actually looks like in practice,” she said. “So it seemed like an ideal combination — to do something a colleague had been itching to do and to be able to have the student learn by doing.”

The students have risen to the occasion, she said.

“The show is kind of a jungle gym for your brain,” she said. “It’s pretty complex, and they’re doing very well with it.”

At the heart of the play — very famously — is a critique of capitalism, Howe said.

“To that end, I’ve chosen to set the production at an encampment of an Occupy movement,” she said. “So we’re staging a stylized version of a public park onstage. So the conceit is that we have we have this group of Occupiers, who have been engaging in lots of different acts of protest, but one of the ones they decide to do is to stage a performance of the ‘Threepenny Opera.’ Because really, we’ve been finding more and more, as we dig into our process, the play and the Occupy movement have so much in common in terms of the social critique that they’re offering.”

The idea to connect the two was sealed when she read a piece in The Nation from editor Richard Lingeman, who noticed the similarities as well.

“It reminded me that my instincts were right on in terms of seeing that the critique made by the play and the critique made by the movement were very similar in many ways,” she said.

The show’s score is heavily influenced by jazz, including the opening number and most popular song, “The Ballad of Mackie Messer.” The tune was later translated into English by Marc Blitzstein as “Mack the Knife” and became a jazz standard recorded by Louis Armstrong, Ella Fitzgerald, Frank Sinatra and Bobby Darin.

“Neither Weille nor Brecht were interested in melodies that were super-pleasing to the ear. Not to say that the songs aren’t gorgeous in their own way,” she said. “The song melodies were meant to clash with the lyrics in a very artful way. For example, if you have a song that is really lush and beautiful, often the characters are talking about really nasty things … which creates a really interesting tension onstage. I think the students are into it, and that’s really exciting.”

The production contains adult language and situations and is intended for mature audiences only. As part of its critique of complex social dynamics, this play contains likely controversial words and phrases meant to foster critical discussion about power, ethics and identity.

Article source: http://heraldnews.suntimes.com/entertainment/12148246-421/ncc-modernizes-threepenny-opera.html

The Good GöringHow a Top Nazi’s Brother Saved Lives

In downtown Vienna under the Nazis, two members of the SA had decided to humiliate an old woman. A crowd gathered and jeered as the stormtroopers hung a sign bearing the words “I’m a dirty Jew” around the woman’s neck. Suddenly, a tall man with a high forehead and thick mustache pushed his way angrily through the mob and freed the woman. “There was a scuffle with two stormtroopers, I hit them and was arrested immediately,” the man later said in a matter-of-fact statement.

Despite this open act of rebellion, the man was released immediately. He only had to say his name: Albert Göring, brother of Hermann Göring, the commander of the German air force and Hitler’s closest confidant.

Years later, after the fall of the Third Reich, Albert Göring was arrested once again, this time by Americans. Again he gave his name, but this time it had the opposite effect.

“The results of the interrogation of Albert Göring … constitutes as clever a piece of rationalization and ‘white wash’ as the SAIC (Seventh Army Interrogation Center) has ever seen,” American investigator Paul Kubala wrote on September 19, 1945. “Albert’s lack of subtlety is matched only by the bulk of his obese brother.”

Kubala’s interpreter, Richard Sonnenfeldt, was likewise skeptical. “Albert told a fascinating story, but one I had trouble believing,” he commented.

A Member of the Resistance?

The life of Hermann Göring’s younger brother indeed makes a fascinating story, one that has remained essentially unknown in the nearly seven decades since the end of the Nazi dictatorship. Perhaps it’s because today many have the same reaction that the American investigators had then: Can it really be possible that Hermann Göring’s brother was a member of the resistance? A caring person who saved Jews, helped dozens of persecuted individuals obtain foreign currency and fake papers, and even secured the release of concentration camp prisoners?

“It has been four months now since I was robbed of my freedom, without knowing why,” Albert Göring wrote in September 1945 in a heavy-hearted letter to his wife. He had turned himself over to the Americans voluntarily on May 9, 1945. After spending years trying to thwart his brother’s policies in various small ways, now he felt betrayed.

So he took up a pen and paper and wrote an alphabetical list of 34 names, entitling it “People whose life or existence I put myself at risk (three Gestapo arrest warrants!) to save.”

For decades, that list and the few other existing documents on Albert Göring sat in archives, gathering dust. Hermann Göring’s life was examined down to the last detail, from his morphine addiction and his role as an art thief to his actions as Reichsjägermeister, or official gamekeeper. Albert Göring, meanwhile, sank into oblivion.

In the end, it was journalists rather than noted historians who first introduced the younger brother to a wider public. In 1998, a British film crew shot a documentary called “The Real Albert Göring.” In far away Sydney, William Hastings Burke, then 18, stumbled across the film and developed a long-lasting fascination with the story. “The idea that this monster we learn about in history class could have had an Oskar Schindler for a brother seemed absolutely unbelievable,” Burke later wrote.

After completing a university degree in economics, Burke scraped together the money for a ticket to Germany. He found a room in a shared apartment in the university town of Freiburg, got a job in an Irish pub, and otherwise devoted the next three years to searching for Albert Göring, combing through archives and meeting with friends and family members of people Albert Göring was said to have helped. The result was “Thirty Four,” a book named after Albert Göring’s list, published in 2009. The German translation will be released in German on May 21 under the title “Hermanns Bruder: Wer war Albert Göring?” or “Hermann’s Brother: Who was Albert Göring?”

Striking Differences

Burke’s book describes a man who could not have been more different from his infamous brother. “He was always the exact opposite of me,” Hermann said in a statement after the war. “He wasn’t interested in politics or the military, and I was. He was quiet and withdrawn, I loved gatherings and being sociable. He was melancholy and pessimistic, I’m an optimist.”

In appearance as well, the brothers’ differences were so striking that even early in their lives, rumors flew that Albert was in truth the result of an affair on the part of their mother, Franziska. Hermann had blue eyes, Albert had brown. Hermann was stocky and fat, Albert tall and slim. Hermann loved authoritarian, bombastic behavior, while Albert was a bon vivant — musical, cultured and charming. He was also a ladies’ man who married four times and was said to be always up for a fling.

At first, Albert simply tried to keep out of the National Socialists’ way. A mechanical engineer, he chose not to join the Nazi Party, instead moving to Vienna, Austria in 1928 to work as sales manager for a company that made heating boilers. He also took on Austrian citizenship. But the world-power politics Albert so hated, and which his ambitious brother promoted, caught up with him there with the 1938 annexation of Austria to Nazi Germany.

At some point, Albert decided he wanted to help instead of turning a blind eye. For example, he helped Oskar Pilzer, former president of Tobis-Sascha-Filmindustrie, Austria’s largest film production company. Pilzer was Jewish, which gave the Nazis the perfect excuse to ban his studios’ films in Germany — so they could subsequently take over the company when it began to falter. When the Gestapo arrested the toppled film mogul in March 1938, Albert Göring intervened.

Scrubbing the Streets in Solidarity

“Albert Göring used the power of his family name and pulled out all the stops, first to find out where my father was and then to make sure he was released immediately,” Pilzer’s son George later testified.

That was no isolated incident, and many people had similar testimony to present after 1945. Alexandra Otzop, for example, recalled, “My husband and his son from his first marriage were persecuted in the fall of 1939. Mr. Göring managed to get them deported, instead of being sent to a concentration camp.”

It’s said that Albert Göring once even got down on his hands and knees to scrub a street in Vienna, out of solidarity with women who were being bullied by stormtroopers. The women’s tormentors asked his name and were horrified by the answer.

While his brother was hard at work perfecting his air force, Albert obtained fake papers, warned friends of impending arrests and provided refugees with money. Again and again, he deftly used his name to intimidate public officials.

It was a bizarre situation. The overly ambitious Hermann knew about Albert’s activities, yet did nothing to stop him. Albert later testified that his brother had told him it was his “own business” if he wanted to protect Jews, so long as he didn’t get Hermann in “endless trouble.” Albert, meanwhile, had a nearly schizophrenic relationship with Hermann, trying to keep the private person and the politician separate. “As brothers, we were close,” he said.

But as time passed, Albert Göring abandoned the caution his brother had demanded of him. In late 1939, the younger Göring himself took an influential position, becoming export manager for the Skoda automobile factory in the Czech city of Brno. From this position, he also supported the Czech resistance, activists later testified. If their statements are accurate, Albert Göring revealed not only “the exact location of a submarine dockyard” but also the plan to break the non-aggression pact with the Soviet Union. This sensitive information, the Czech resistance fighters stated, was successfully passed on to Moscow and London.

Fleeing to
Salzburg

But even that isn’t the whole story. Göring is also believed to have saved prisoners from the Theresienstadt concentration camp in 1944. “He said, I’m Albert Göring from Skoda. I need workers,” Jacques Benbassat, the son of an associate of Albert’s, later related. “He filled the truck with workers, and the concentration camp director agreed to it, because he was Albert Göring. Then he drove into the woods and released them.”

A number of notes turn up in German files that prove these stories were not simply made up. The Gestapo’s Prague bureau, for example, complained that Göring’s office at the Skoda factory was “a veritable nerve center for ‘poor’ Czechs.” The general of the Prague police, SS-Obergruppenführer Karl Hermann Frank, considered Albert Göring “at the very least, a defeatist of the worst sort” and asked permission to arrest him in 1944 on “profound grounds for suspicion.”

Now the man who had helped others escape became the persecuted one. Multiple times, Hermann Göring had to intervene on Albert’s behalf, all the while warning him that he wouldn’t do so forever — with every German plane shot down, the once untouchable head of the Luftwaffe found his star was on the wane. Shortly before the end of the war, Albert fled to Salzburg, Austria.

These two very different men met just once more in an American detention center in Augsburg. “You will soon be free,” the war criminal Göring is said to have told the younger Göring who saved Jews, on May 13, 1945. “So take care of my wife and my child. Farewell.”

While Hermann Göring, sentenced in Nuremberg, escaped execution by committing suicide in October 1946, the Americans remained suspicious of Albert Göring. His name had become a burden for him. Although the last of a series of caseworkers did recommend his release, Göring was turned over to the Czech Republic and tried in Prague for possible war crimes, because Skoda had also manufactured weapons.

Only after many former Skoda employees testified on Göring’s behalf were the charges dropped, and Göring was acquitted in March 1947. He died in 1966 in a Munich suburb, an impoverished and bitter man. Despite being a highly qualified engineer, he had been unable to find work in postwar Germany. Being Hermann Göring’s brother, a fact that had saved his life in years past, ultimately became a curse.

This story originally appeared in German on SPIEGEL ONLINE’s history portal, einestages.de. You can read the German version here.

Article source: http://www.spiegel.de/international/germany/0,1518,830893,00.html